catastrophic paradise

Was Beethoven Black? Was His African Heritage Whitewashed? RATE: 23 Flag  In the 15th and 16th century, written history underwent a massive campaign of misinformation and deception. With the European slave trade in full swing, Africans were transported to various parts of the world and were stripped of every aspect of their humanity, and in most of western civilization, were no longer considered human. This triggered a wholesale interpretation of history that methodically excluded Africans from any respectful mention, other than a legacy of slavery. This can result in being taught, or socialized, from one perspective. In this instance, historical information tends to flow strictly from a European perspective.

In an age where history is seriously being rewritten, new information is coming forth that is shocking intellectual sensitivities. What was once considered written in stone is now melting away with the discovery of facts that heretofore have been hidden or omitted; things so different that they are generally classified as controversial or unusual.

That brings us to the topic of this post; the true identity of Ludwig van Beethoven, long considered Europe’s greatest classical music composer.  Said directly, Beethoven was a black man. Specifically, his mother was a Moor, that group of Muslim Northern Africans who conquered parts of Europe--making Spain their capital--for some 800 years.

In order to make such a substantial statement, presentation of verifiable evidence is compulsory. Let's start with what some of Beethoven's contemporaries and biographers say about his brown complexion.:

(Louis Letronne, Beethoven, 1814, pencil drawing.)

” Frederick Hertz, German anthropologist, used these terms to describe him: “Negroid traits, dark skin, flat, thick nose.”

Emil Ludwig, in his book “Beethoven,” says: “His face reveals no trace of the German. He was so dark that people dubbed him Spagnol [dark-skinned].”

Fanny Giannatasio del Rio, in her book “An Unrequited Love: An Episode in the Life of Beethoven,” wrote “His somewhat flat broad nose and rather wide mouth, his small piercing eyes and swarthy [dark] complexion, pockmarked into the bargain, gave him a strong resemblance to a mulatto.”

   Beethoven's death mask: profile and full face

C. Czerny stated, “His beard--he had not shaved for several days--made the lower part of his already brown face still darker.”

Following are one word descriptions of Beethoven from various writers: Grillparzer, “dark”; Bettina von Armin, “brown”; Schindler, “red and brown”; Rellstab, “brownish”; Gelinek, “short, dark.”

Newsweek, in its Sept. 23, 1991 issue stated, “Afrocentrism ranges over the whole panorama of human history, coloring in the faces: from Australopithecus to the inventors of mathematics to the great Negro composer Beethoven.”

Of course, in the world of scholarship there are those who take an opposite view. In the book The Changing Image of Beethoven by Alessandra Comini, an array of arguments are presented. Donald W. MacArdle, in a 1949 Musical Quarterly article came to the conclusion that there was “no Spanish, no Belgian, no Dutch, no African” in Beethoven's genealogy. Dominque-Rene de Lerma, the great musical bibliologist, came to the same conclusion.

Included in this discussion is a reference made of Beethoven’s teacher, Andre de Hevesy, in his book, Beethoven The Man. “Everyone knows the incident at Kismarton, or Eisenstadt, the residence of Prince Esterhazy, on his birthday. In the middle of the first allegro of Haydn’s symphony, His Highness asked the name of the author. He was brought forward.

“‘What!’ exclaimed the Prince, ‘the music is by the blackamoor (a black Moor). Well, my fine blackamoor, henceforth thou art in my service.’

“‘What is thy name?’

“‘Joseph Haydn.’”

In Alexander Thayer's Life of Beethoven, vol.1, p. 134,  the author states, “there is none of that obscurity which exalts one to write history as he would have it and not as it really was. The facts are too patent.” On this same page, he states that the German composer Franz Josef Haydn was referred to as a “Moor” by Prince Esterhazy, and Beethoven had “even more of the Moor in his looks.” On p. 72, a Beethoven contemporary, Gottfried Fischer, describes him as round-nosed and of dark complexion. Also, he was called “der Spagnol” (the Spaniard).

Other “patent” sources, of which there are many, include, but are not limited to, Beethoven by Maynard Solomon, p.78. He is described as having “thick, bristly coal-black hair” (in today's parlance, we proudly call it “kinky”) and a “ruddy-complexioned face.” In   Beethoven:  His Life and Times by Artes Orga, p.72, Beethoven's pupil, Carl Czerny of the “School of Velocity” fame, recalls that Beethoven's “coal-black hair, cut a la Titus, stood up around his head [sounds almost like an Afro].  His black beard...darkened the lower part of his dark-complexioned face.” 

                  (Blasius Hofel, Beethoven, 1814, monochrome facsimile of engraving after a pencil drawing by Louis Letronne.)                 Also, in The Changing Image of Beethoven by Alexandra Comini, p.31, the author relates the Czerny account using the word 'bristled' and 'shaggy' in reference to the composer's  hair. On the same page, a composite description is presented based on eye-witness accounts: “his complexion was brownish, his hair was thick, black and bristly.” It is clear that his physical appearance was so strikingly uncommonplace, that those who knew him and had seen him could do no other than give an accurate description. According to Alexander Thayer, p. 238, “A true and exhaustive picture of Beethoven as a man would present an almost ludicrous contrast to that which is generally entertained as correct.  Sculptor and painter in turn have idealized the work of their predecessor, until the composer stands before us like a Homeric god—until those who knew him personally, could they return to earth, would never suspect that the grand form and noble features . . . are intended to represent . . . their old friend.”  

  According to the Sadie edition of Grove's Dictionary of Music and Musicians, p.392, the most approximate impression we can expect of the composer's physical appearance is the 1814 engraving by Blasius Hofel (R) and the 1812 life mask (L), which clearly reveals his broad, flat nose (which can be seen in the Jacobs book, pp.142-143, the Hofel portrait on p. 150.) 

The author of this edition of Grove's, p. 392, insists that the “idealized portraits and busts . . . owe nothing to literal or even to poetic truth.”  So a picture, particularly in Beethoven's case, is not always worth a thousand words.

  (R) Engraving by Blasius Hofel, Beethoven, 1814, color facsimile of engraving after a pencil drawing by Louis Letronne. This engraving was regarded in Beethoven's circle as particularly lifelike. Beethoven himself thought highly of it, and gave several copies to his friends. 

Beethoven, the Black Spaniard

 Just how does an individual with a Teutonic surname born in eighteenth-century Germany acquire the moniker “The Black Spaniard”?  

One of the homes in which Beethoven resided in Vienna, Austria, the music capitol of European Music at that time, was called the “Schwarzspanierhaus,” the “House of the Black Spaniard.” 

In a PBS presentation about Beethoven, the host and narrator, Russian Actor Peter Ustinov, said that Beethoven would become angry when people called him “inferior.”  Clearly, he must have been an exotic and at times disparaged presence in Germany and Austria.

Ludwig van Beethoven (1770 -1827) was born in Bonn, Germany, but his family originated in Belgium, which was then called Flanders.  Interestingly, his family name, as noble and grand as it sounds, is a Flemish one quaintly and literally meaning “beet garden.”  For over 200 years, Belgium/Flanders had been occupied by Spain.  One need only look at a map to see how close in proximity Southern Spain is to Northern Africa, separated by the Strait of Gibraltar, which, from a geological standpoint, appears to have forged its way through an erstwhile connection between the two terrains. 

Africans had easy access to Spain, the zenith being the 700 year reign of the Moors in that country. (“Moor” comes from Greek/Latin root words meaning “Black” or “dark-skinned.”)  The protracted Black presence in Spain apparently protracted its presence in Belgium/Flanders along with the Spanish. Thus, Beethoven inherited this Black Spanish strain. Which leads to a very critical question:  Why the proliferation of spurious portraits that hide his ethnic heritage as a man of color?

Beethoven was one of the most innovative and amazing musical geniuses, ever. His deafness made that amazing genius even more so.   his music reveals a cultural connection to his African ancestry.  In the Blom edition of Grove's Dictionary of Music and Musicians, p. 20, is stated, “A rhythmic or time-active cast of thought was inherent in his nature,” and “(n)umerous examples could be given from familiar music in which an off-beat accent converts an ordinary into an extraordinary passage.” The distinctive characteristic of off-beat accents, or syncopation, is intrinsic and integral to Black people's music making, which gives it a unique vitality and kinetic energy. 

 Examples of this rhythmic trait are his mammoth string quartet known as “The Great Fugue,” which sounds "way ahead of its time" and foretells 20th century atonality.  Also, the second movement of the last Piano Sonata he wrote, Op. 111 in C minor, sounds like the genesis of jazz.  He had exquisite foresight as to how music would evolve in the future. He was an astounding piano improvisateur, which moved Mozart to prophesy, “He will give the world something worth listening to.” The last movement of the “Waldstein” Sonata, op. 53, has a syncopated bass, which might inspire gospel music clapping. It is also the same off-beat pattern used in reggae and Hip- Hop music.  

Beethoven makes prolific use of the syncopating kettle drum in much of his orchestral music, such as the dramatic Symphony No. 5, which contains one of the world's most famous themes, and the majestic “Emperor” Piano Concerto No. 5. 

He was the first composer to invigorate European Classical Music with prodigious use of this decidedly inherent African rhythmic trait. 

 He was also one of the first composers to deviate from the musical template of eighteenth-century rules and regulations. 

In his Fourth Piano Concerto No. 4, the piano begins the opening, as opposed to traditionally beginning with the orchestra.  The “Waldstein” Sonata begins in G major, even though it is written in C major. 

He was the first composer to include a chorus in a symphony, which became known as the “Choral” Symphony No. 9, the theme of the hymn “Joyful, Joyful, We Adore Thee.” 

He was also one of the first composers to inject his personal thunderous temperament in his music, as evidenced in such piano works as the “Appassionata” Sonata, Op. 57 and the fittingly named “Tempest” Sonata, op.31, no.2. 

He was the first composer to explore and exploit the virtuosic possibilities of the piano, which necessitated piano makers' building stronger, more durable instruments. 

His was the first piano music to require the pianist to play the trill and the melody with one hand, as in the “Hammerklavier” Sonata where he took piano music where it had never gone before. With his daring musical innovations, formidable piano technique, the injection of deep musical subjectivity as opposed to abstract musical objectivity, he rendered the composer free from stilted, restrictive dogma and ushered in the Romantic Period.  He gave inspiration to Liszt, Schumann, and Chopin.

In the ugly throes of Institutional Racism during Beethoven's lifetime when Chattel Slavery in America was in full operation and Europe was preparing to subjugate the entire continent of Africa for itself, the European Colonialist and Imperialist Masters found it necessary to obscure certain facts in order to justify keeping an entire people in bondage and sub-human status.

The U.S. Constitution even slated Black people as being only 3/5 human.  Such an imperative necessitated academic fraud.  The dubious system that portrayed the Ancient Egyptians as White people is the same dubious system that portrayed Beethoven, one of the greatest composers ever, as White. The same dubious system is still intact, which would motivate Hollywood to give false ethnic representations in the Beethoven movies 'Immortal Beloved', and 'Beethoven Lives Upstairs.'  Fortunately, the world does consist of honest people who were and are willing to nullify historic prevarications. 

In a just and equitable society a person's skin color is supposed to be of no consideration.  Beethoven was a phenomenal genius and during the many years of childhood and adult life when I was unaware of his ethnic heritage, being constantly confronted by persistent and insistent portrayals of his image as White which I thought were correct, that just did not matter.  I saw him as a great composer whose music I enjoyed listening to and performing. 

Unfortunately, the European oppressors, colonialists, and imperialists who instituted a universal system based on color superiority and color inferiority, falsifying and suppressing evidence to exalt one people and debase another have made it matter. Such perpetration of academic theft was based on color, which makes color a major consideration in the imperative of seeking academic justice for the people whose great and noble past was stolen and hidden from them to prevent their aspiring to a great and noble present and future.

It is time to build  that just and equitable society that redresses academic pilferage, recognizing the color-blindness of genius and the historic contributions of all people thereby engendering understanding, respect, and equality. 

We have all been fed false information for reasons previously mentioned. It is no secret that scholars, writers, critics, advertisers and Hollywood have changed history for their own specific reasons. What is uniquely different in the intellectual landscape, people of color now have an army of sophisticated scholars to combat the continuation and dissemination of false information that has been accepted as standard, as well as the canon in academia.

Welche Bilder von Kriegen und Katastrophen sind in Medien zulässig? Eine alte, strittige Frage wird im Zusammenhang mit dem Flugzeugabsturz in der Ukraine wieder brisant. Unter Beschuss kommt auch die renommierte Fotoagentur Magnum. Für den Fotografen Reto Camenisch verletzte sie die Menschenwürde.

Bild in Lightbox öffnen. Bildlegende: Manchmal ist es zulässig, wenn man Tote sieht – nur erkennen sollte man sie nicht (Absturzstelle der MH17 in Hrabove). REUTERS Magnum-Fotograf Jerome Sessini war einer der ersten, der am Absturzort der MH17 der Malaysia-Airlines eintraf. Was er sah, war schrecklich. Was er fotografierte und via Website seiner Fotoagentur verbreitete, ebenfalls. Auf den Bildern sieht man entstellte Körper, einen abgerissenen Fuss, der auf einer Landstrasse liegt, die Leiche einer Frau mit buntem Kleid – wer sie kannte, kennt sie.

Distanzlos, voyeuristisch, vulgär Reto Camenisch, Studienleiter redaktionelle Fotografie am Medienausbildungszentrum MAZ in Luzern, ist empört über die «ungezügelte Rohheit der Bilder»: Viele der von Magnum angebotenen Bilder seien distanzlos, voyeuristisch, vulgär – jedenfalls weit weg etwa von den Richtlinien des Schweizer Presserats, wonach bei jeder Berichterstattung die Gefühle und das Leid der Betroffenen und derer Angehörigen zu respektieren seien. Im Gegenteil: Hier werde die Menschenwürde der Opfer mit Füssen getreten. Zudem habe die Agentur jedem ohne Codierung Zugang zu diesen Bildern ermöglicht.

Was liegt im öffentlichen Interesse? Natürlich müsse man Krieg und Katastrophen fotografisch dokumentieren, stellt Reto Camenisch klar. In einzelnen Fällen sei es auch wichtig, dass Tote auf den Bildern identifiziert werden könnten. Die Fotografie des toten Saddam Hussein zum Beispiel sei legitim gewesen, weil der ehemalige irakische Staatspräsident eine geschichtliche Bedeutung gehabt habe und sein verbürgter Tod von öffentlichem Interesse gewesen sei. Bei den unschuldigen, namenlosen Absturzopfern hingegen, gehe es bloss um Voyeurismus.

Um in der Öffentlichkeit mit einem Bild etwas auszulösen und politisch etwas zu bewegen – so wie etwa vor 50 Jahren das Bild des napalmversehrten Mädchens im Vietnamkrieg -, brauche es heute keine Bilder von geschundenen Körpern und entstellten Leichen. Laute, distanzlose Bilder stumpften bloss ab.

«Es braucht heute intelligentere, subtilere Bilder vom Krieg», sagt Reto Camenisch und erwähnt etwa die Serie des Magnum-Fotografen Peter van Agtmael, der das Kasernenlebens amerikanischer Truppen in Afghanistan dokumentierte. In den USA habe diese Serie zu einer anderen Sicht auf den Afghanistan-Feldzug geführt.

Zurückhaltende Schweizer Medien Dass die expliziten Bilder von der Absturzstelle ausgerechnet von der renommierten Fotoagentur Magnum verbreitet worden sind, schmerzt Reto Camenisch besonders. Magnum, 1947 von Fotografen rund um Robert Capa und Henri Cartier-Bresson gegründet, sei doch sozusagen «die Mutter aller Bildagenturen» und für viele Fotografen auf der ganzen Welt eine Instanz. Wenn Magnum solche Bilder nun frei zugänglich ins Netz stelle, habe das womöglich Signalwirkung, befürchtet Reto Camenisch. Es könnte dazu führen, dass die Schweizer Medien – die ihre Berichte über den Flugzeugabsturz bislang sehr zurückhaltend bebildert haben – diese Zurückhaltung aufgeben.

Reto Camenisch hat seine heftige Kritik an Magnum nicht nur in seinem Blog formuliert, sondern auch in einem Brief an die Fotoagentur. Von ihr gehört habe er bisher nichts, die besonders grausamen Bilder seien inzwischen aber von der Seite gelöscht worden.

dazu auch http://podcasts.srf.ch/world/audio/Kultur-kompakt_24-07-2014-1706.mp3

ein muster in einem feld, ein fuss auf einer strasse von dem man nicht sieht das er abgerissen ist. welche falsche bildbeschreibung wird hier vorgenommen und welche art der scandalisierung wird hier betrieben? hussein is legitim, gaddafi ist legitim. hier opfer aber nicht identifizierbar, sowie die springenden aus dem wtc nicht gezeigt wurden in oeffentlichen medien…

ich denke zwischen die längeren wolken, nach den ersten beiden wolken aufnahmen würde gut das nahe wasser dazwischen passen, dann das dritte wolkenvideo ( zwar schmutziges fenster sichtbar und verruckelt aber ich finde den verlauf toll. und das auch die herstellung verweisen wird stört mich nicht. aber die wolkenformationen sind nen hammer)

(gestern ausgefallen wegen publikation)

sortierter wieder. separierter

und manchmal zum verhältnis der teile, oder dem ungeklärtem verhältnis der teile

ohne skizze

auf den tisch mit den bidlern von raum schauend.

mehr in der betrachtung des gedankens

allein aufgenommen und selber mich gehört beim sprechen

hilft die stimme zu kontrollieren

ich bemerke die rythmischen einheiten im denken und formulieren.

manchmal verspreche ich mich, aber es scheint für den fluss wichtig.

wie komme ich tiefer in einen diskurs und in die betrachtungen

und sage nicht anders immer das selber

oder gilt es der abtragung zu vertrauen die sich ergibt?

oder aber wie dem denken keinen vorsatz, aber im tun eine richtung geben, die aber den ort an dem sie ankommt noch nicht weiss.

eine grabung sozusagen

dalcroze exercise

in reaktion was du mir heute gezeigt hast

http://www.openculture.com/2014/07/full-lecture-and-reading-list-from-sun-ras-1971-uc-berkeley-course.html

Sun Ra’s Full Lecture & Reading List From His 1971 UC Berkeley Course, “The Black Man in the Cosmos”

in Music, Philosophy, UC Berkeley | July 21st, 2014 1 Comment

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A pioneer of “Afrofuturism,” bandleader Sun Ra emerged from a traditional swing scene in Alabama, touring the country in his teens as a member of his high school biology teacher’s big band. While attending Alabama Agricultural and Mechanical University, he had a out-of-body experience during which he was transported into outer space. As biographer John Szwed records him saying, “my whole body changed into something else. I landed on a planet that I identified as Saturn.” While there, aliens with “little antenna on each ear. A little antenna on each eye” instructed him to drop out of college and speak through his music. And that’s just what he did, changing his name from Herman Blount and never looking back.

Whether you believe that story, whether Sun Ra believes it, or whether his entire persona is a theatrical put-on should make no difference. Because Sun Ra would be a visionary either way. Combining Afrocentric science fiction, esoteric and occult philosophy, Egyptology, and, with his “Arkestra,” his own brand of free jazz-futurism that has no equal on earth, the man is truly sui generis. In 1971, he served as artist-in-residence at UC Berkeley and offered a spring semester lecture, African-American Studies 198, also known as “Sun Ra 171,” “The Black Man in the Universe,” or “The Black man in the Cosmos.” The course featured readings from—to name just a few—theosophist Madame Blavatsky, French philosopher Constantin Francois de Chasseboeuf, black American writer and poet Henry Dumas, and “God,” whom the cosmic jazz theorist reportedly listed as the author of The Source Book of Man’s Life and Death (otherwise known as the King James Bible).

Now we have the rare opportunity to hear a full lecture from that class at the top of the post. Listen to Sun Ra spin his intricate, bizarrely otherworldly theories, drawn from his personal philosophy, peculiar etymologies, and idiosyncratic readings of religious texts. Hearing him speak is a little like hearing him play, so be prepared for a lot of free association and jarring, unexpected juxtapositions. Szwed describes a “typical lecture” below:

Sun Ra wrote biblical quotes on the board and then ‘permutated’ them—rewrote and transformed their letters and syntax into new equations of meaning, while members of the Arkestra passed through the room, preventing anyone from taping the class. His lecture subjects included Neoplatonic doctrines; the application of ancient history and religious texts to racial problems; pollution and war; and a radical reinterpretation of the Bible in light of Egyptology.

Luckily for us, some sly student captured one of those lectures on tape. For more of Professor Ra’s spaced out presentation, see the Helsinki interview above, also from 1971. And if you decide you need your own education in “Sun Ra 171,” see the full reading list from his Berkeley course below, courtesy of the blog New Day.

The Egyptian Book of the Dead

Radix

Alexander Hislop: Two Babylons

The Theosophical works of Madame Blavatsky

The Book of Oahspe

Henry Dumas: Ark of Bones

Henry Dumas: Poetry for My People eds. Hale Charfield & Eugene Redmond, Carbondale: Southern Illinois University Press 1971

Black Fire: An Anthology of Afro-American Writing, eds. Leroi Jones & Larry Neal, New York: William Morrow 1968

David Livingston: Missionary Travels

Theodore P. Ford: God Wills the Negro

Rutledge: God’s Children

Stylus, vol. 13, no. 1 (Spring 1971), Temple University

John S. Wilson: Jazz. Where It Came From, Where It’s At, United States Information Agency

Yosef A. A. Ben-Jochannan: Black Man of the Nile and His Family, Alkibu Ian Books 1972

Constantin Francois de Chasseboeuf, Comte de Volney: The Ruins, or, Meditation on the Revolutions of Empires, and the Law of Nature, London: Pioneer Press 1921

The Source Book of Man’s Life and Death (Ra’s description; =The King James Bible)

Pjotr Demianovitch Ouspensky: A New Model of the Universe. Principles of the Psychological Method in Its Application to Problems of Science, Religion and Art, New York: Knopf 1956

Frederick Bodmer: The Loom of Language. An Approach to the Mastery of Many Languages, ed. Lancelot Hogben, New York: Norton & Co. 1944

Blackie’s Etymology

Countless other free courses from UC Berkeley can be found in our collection, 1000 Free Online Courses from Top Universities.

via Dangerous Minds

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ich denke, dass die stimme ein bisschen zu hoch angesetzt ist. eine tiefere stimme braucht ein bisschen, bis sie sich setzt (tage). auf die nennungen würde ich nicht verzichten, in hinblick auf den einsatz in der performance.

projektionen sind gelaufen, mikro richtung der projektion, skzze vorher gezeichnet aber nicht während des sprechens angeschaut.

heute war der versuch nicht beschreibend sondern aktivierend die einzelnene felder sprechend zu erstellen. eher fragmentarisch, fast poetisch. und die felder nicht auszuweisen, nicht zu benennen, sondern eher über die verhältnisse, kräfte, handlungsweisen und interaktionen zu verbalisieren. erst spät sind worte wie paradies, garten, zone of adandonment gefallen.

die sprünge zwischen den zonen waren durch abbruch oder aber durch „andere“ ähnlichkeiten. das heisst das das essen von der frucht im paradies zum essen des anderen körpers geführt hat. die flut zum der flut der stimmen, die toten körperteile zum kannibalismus, die tiere im paradies zu den tieren in der arche etc...klingt jetzt blöd beim notieren, aber war nicht ganz so grob. ich bin mir nicht sicher ob das nicht zu kryptisch ist.

ich muss es mir selber noch anhören.

aber

Sufi Rifai zikr from Sheikh Amed Rifai (Trance/wajd in love of Allah)

bei dem video dachte ich mir was wäre wenn man mit den zuschauern die grenze des paradieses baut. einen kreis im raum bildet und spricht darüber ob man der mitte zugewandt ist oder dem aussen. 

kitsch und heiliger geist

bei dem video interessiert mich total das setting. die möbel, der raum, die sofas, der boden , die wände, die menschen und was sie tun.

heute mit dem vergleich der " eingeborenen "videos eigentlich kaum ein unterschied, nur das sie sofa haben und mehr an.