Who will stop this socialist insanity?
It has momentum. A juggernaut of lunacy has escaped the incubators of government funded institutions of learning and rolls across the nation like a virulent bird flu for it seems to strike first the feeble bird-brained students. Precious brain matter scrambled by maladjusted lecturers and professors of social experiment. The same old crap tried and failed by their equally misguided predecessors. One might have thought that academics would understand Albert Einstein’s theory on insanity. In short, repeating an experiment many times in the same manner expecting a different outcome.
The University of Melbourne faces calls to cancel a “divisive” dance performance that separates white audience members from people of colour, makes white patrons sign a declaration before entering the theatre, and then stops the dance when they take their seats.
Source: news Corp
Janet Albrechtsen and Richard Ferguson write:
Segregation of whites at theatre sparks Melbourne University backlash
Where I Stand, a performance created by third-year Victorian College of the Arts student Isabella Mason, aims to highlight how indigenous people and people of colour have been excluded from society and history.
The performance is the first of four scheduled in the Dance ON 2018 showcase, which is meant to celebrate 40 years of the Victorian College of the Arts dance course, run by the University of Melbourne.
The show has been labelled divisive by some commentators and audience members, while the show’s creator admits it has confronted some attendees with the way it segregates them based on the colour of their skin. White audience members miss out completely on a dance routine in the theatre.
“Realistically, there are simply two different shows for two different audiences,” said Mason, 20. “The (white) audience in the foyer are invited to go through a process of accepting/transitioning/cleansing similar to a right of passage.
“I do not consider the ritual in the foyer to be any ‘lesser’ a part of the performance however many audience members feel as though they ‘missed out’ on the ‘real show’ in the theatre.”
People of colour are invited to enter the show first, while white people must wait outside where four dancers, who introduce themselves by their preferred pronouns, talk to them about white privilege.
White patrons are then asked to sign a big brown piece of paper on the wall that states: “I acknowledge where I stand.” If they do not, they are not allowed to enter the theatre. Once there are more white audience members in the theatre than people of colour, the show stops and the audience is left to sit and think.
“Of the five shows thus far, we have not had equal representation on any night,” Mason said.
The student of mixed Maori and European heritage said audience members had reacted in different ways to her show and admitted some had walked out.
“I have had a number of people contact me to tell me their own experiences and thank me … Many have cried … Some have been angry, some have walked out,” she said.
Institute of Public Affairs director Bella D’Abrera said the University of Melbourne should cancel the performance.
“It’s reverse segregation and if people are paying for tickets, and taxpayers are funding the VCA, then they should be let in … or they should stop the performance,” she said. “I’m not surprised the university hasn’t criticised this, I’d be more surprised if they did. This is more taxpayer-funded identity politics.”
The University of Melbourne’s Faculty of Fine Arts and Music acting dean Jon Cattapan said Mason’s dance piece was “provocative” and “exciting”.
“Exciting, contemporary and, on occasion, challenging student work is something we encourage across all of the art forms taught and developed at the Faculty of Fine Arts and Music,” he said.
Mason said staff at the VCA did raise concerns that the performance could be controversial with audiences but said it was her decision and they supported her.
One concerned patron said he and his partner refused to sign the paper, adding that several other patrons were distressed by the performance. “We were both fascinated and appalled to be living in our own episode of the Chinese Cultural Revolution experience,” he said.
“Each girl would then take it in turns to declare her racial pedigree … and then her preferred pronouns before declaring her attempts to overcome her white privilege and what these teenagers thought we should be doing to overcome our privilege.”
The man, who wished to remain anonymous, said one elderly woman was shaken by the performance and said the university should be held responsible for allowing race-based practices.
“I don’t blame the girls involved in the piece, they are young and self-righteous,” he said. “I do blame the University of Melbourne for allowing racial selection on campus in any shape or form. I am gobsmacked that any university would preside over an event where entry is based on skin colour. I naively thought this was a line that even the regressive left wouldn’t cross.”
Centre of Independent Studies senior research fellow Jeremy Sammut said the segregated performance was the “antithesis of an arts performance”.
“This work divides us … people shouldn’t be lumbered with the guilt of the past,” he said.
“You are supposed to enter a performance with an open mind … not sign up to a particular set of views. This piece also lies to us about the current reality of racism today … there is much less racism or prejudice in our society than there has ever been.”