A Piece of Hate Cake Revisited…

For the most part, the Swedish minstrel cake and the event surrounding it sparked mass outrage. However, today articles and opinions have surfaced, suggesting that the artist Makode Aj Linde did not intend on the cake being the final work of “art”, but rather the scene as a whole as the final work, giving harsh critique and commentary on racism in Europe and the West’s quickness to jump on pointing out oppression in Africa without full knowledge and insight. People amongst this camp are praising Linde for his brave and provocative success of exposing this modern-day colonialist mindset.

Writing for Africa is a Country, John Palme acclaims, “It’s a brilliant staging of structural racism and post-colonial existence.”

Giving Linde credit as a master puppeteer, Jonathan Pitts-Wiley wrote for Ebony, “I saw something powerful and heartbreaking unfold in this gallery. The celebrants and revelers at the exhibit were merely unwitting–but abundantly willing–performers in Linde’s play. The cake was not for their delight. The wails he let forth as the cake was cut into was not for their amusement. Linde wasn’t enjoying the moment, making light of a brutal history; indeed, his presence served to shame them, to shame them for partaking in something so distasteful as a cake representing the countless girls and women who have been brutalized. They should have been outraged. They should have been disgusted, haranguing for the cake and the artist to be removed immediately. But they weren’t. Rather than recoil in horror and outrage at the sight of such a cake or the sound of such screams, the men and women in attendance–The West–ate and chitchatted and snapped pictures of the spectacle.”

Though Linde admits to attempting to expose racism and ignorance of Europeans who only focus on certain types of oppression in Africa when racism is still rife in their communities, he claims he did not know what the response of the crowd would be. “I think a lot of people saw some images taken during the performance, saw the pictures online and took the images out of its context. And they accused me and the cultural minister to be racists,” he said. “So I think the people who have been upset about the art piece, about the images, have seen have misunderstood the intention or the agenda of me as an artist.”

It is interesting to note that much of the focus has been on the fact that Linde is a black man, and his artwork in the past, much with the minstrel blackface theme, has been dedicated to raising awareness about racism. Fair enough. What has not been emphasized is that Linde is mixed race, which means he is just as much “white” as he is “black”, showing how the one-drop rule still plays a huge role in our global culture. This would not even be a conversation if a white artist attempted the same “art”. Also, though I’m sure Linde has come across racism living in Europe, it is also noteworthy that he was born in Stockholm, and is assumedly just as far removed from the plight of Africans as other Swedes are.

No one can argue that, no matter what the artist’s true intentions were, Linde’s stunt exposed a strange form of modern-day imperialism and racism. But I think the question we should be asking is, at what cost? Does one injustice hold greater weight than  another, as the atrocity of female circumcision was seemingly made light of, allegedly to expose racism and imperialism? Even if the West shouts out about “oppression” they may know little about, it does not take away from the fact that genital mutilation is a disgusting form of torture, performed on young girls who have no choice in the matter, negatively affecting them for the rest of their lives.

Linde’s tasteless portrayal of an African female undergoing genital mutilation in the mocking form of a cake is a serious problem to many people. Take for example poet and author Kola Boof, who is an actual victim of genital mutilation, who cannot see past the mockery, tweeting heart felt tweets in response to the Ebony article,

@kolaboof: Who is getting this “meaningful artful picture”….at the expense of CUT WOMEN like myself? They see it as hilarious!

@kolaboof: I am vaginally infibulated. I have suffered…my entire life!!! My life is HELL!! And you think this is reaching people??”

I know art is a powerful tool that can be used to expose the ills our societies are plagued with. I am also all for freedom of expression and speech. But I also believe that with that freedom comes a sense of responsibility, and I do not believe Linde acted responsibly, creating “art” that was insensitive to the very people he was allegedly trying to help. And though he claims his point was to expose these post-colonial mindsets of Europeans, he continues to dismissively make excuses for the the Minister of Culture, Lena Adelsohn Liljeroth, and she continues to refuse to apologize for any part she had in the event. Wait. So, what was the point of it all again?

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One Response to A Piece of Hate Cake Revisited…

  1. Zilli says:

    Kola Boof, who is an actual victim of genital mutilation

    I can’t find any evidence that Kola Boof was ever in the Sudan, which is where she claims to have undergone female genital mutilation. Even her name is made up. As a resident of South Africa, you should know that she recently made laughably ridiculous claims that Jacob Zuma repeatedly called her unlisted number to try to hire her to have sex with him. Check out this story in City Press, which calls her “just another attention-seeking cyber-psycho.”

    http://www.citypress.co.za/SouthAfrica/News/Kola-Boof-Zumas-fancy-or-a-spoof-20120107

    It’s shame that a crazy self-promoter like Boof tries to attach herself to issues that deserve serious treatment.

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