Reviews

Sade Adu‘s rich contro-alto voice and song writing skill first came to attention in 1983 with the song “Smooth Operator“. In song after song she captures the complexities of ego, hope, aspiration, and love. In Smooth Operator she describes a man who impresses woman after woman, never wasting a move, and yet ultimately has nothing to offer but love for sale.

In Your Love is King (1984) she describes quite a different lover, one whose love “touches the very part of me that is making my soul sing. I’m crying out for more. Your love is king…. This is no blind faith. This is no sad and sorry dream. This is no blind faith. Your love is real”. It is not entirely clear whether she is talking about a lover or following a tradition as old as the bible and using passionate love to portay an awareness of Love (cf. Hosea, Song of Songs) or whether she simply enjoys the ambiguity of a song that could be read either way. In 2008, the UK Daily Telegraph listed it as one of the 50 best love songs of the 1980′s.

King of Sorrow from the Lover’s Rock album (2000) explores the determination to continue despite feeling overwhelmed: “I’m crying everyone’s tears and there inside our private war I died the night before… I suppose I could just walk away. Will I disappoint my future if I stay? It’s just a day that brings it all about. Just another day and nothing’s any good. The DJ’s playing the same song, I have so much to do. I have to carry on. I wonder if this grief will ever let me go. I feel like I am the king of sorrow, yeah, the king of sorrow.

Soldier of Love , the title song of Sade’s latest album, is about not giving up on one’s capacity to love even when hurt and pain and confusion make it seem a distant reality:

I’ve lost the use of my heart, but I’m still alive,
Still looking for the life, the endless pool on the other side.
It’s a wild wild west, I’m doing my best,
I’m at the borderline, I’m at the hinterland of my devotion,
In the frontline of this battle of mine, But I’m still alive ….
I know that love will come, turn it all around.
I’m a soldier of love,
Every day and night, all the days of my life.

The Soldier of Love album was released this year (February 8, 2010). This is the first album to be released in 10 years. Despite this gap, Sade still has a loyal fanbase. Sade has chosen to be defiend by her songs rather than a media created public persona. Though she says her most recent album contains “quite a lot of my history“, she is deliberately reticent about the actual details, because she wants people to be focused on the way the song relates to her life and not to limit its meaning to her particular story.

In an interview Sade give to UK’s Sunday Times just before the release of Soldier of Love, we get a glimpse into a small part of Sade’s history. Sade told the Times that her parents loved each other deeply, but could not live together. Sade’s father is Nigerian and her mother British. Sade was born in Nigeria, but four months after Sade was born her mother took Sade and her older brother. The three returned to the UK, leaving her father behind in Nigeria. Periodically Sade’s parents considered getting back together but never did When her parents married, Sade’s father gave her mother a rose. 30 years later when he died, Sade’s mother took the preserved rose and threw it into the grave.  Sade said that point she realized how deeply her mother had cared for her father.  She had held onto the rose all that time. She traces the theme of unfulfilled love in many of her songs to her parents long lasting but never quite realized love.

The Rape of Africa (David LaChappelle)

Venus and Mars (Sandro Botticelli)

Throughout the month of May, the mural to the left will be hanging in the courtyard of the Museum of Contemporary Canadian Art. The mural, by David LaChappelle is based on Botticelli’s Venus and Mars and is meant to comment on the effects of war, mass marketing, and mining on Africa.

Our society is fond of using rape as a rhetorical device, and when it is used well it can send a powerful message. When artists use rape as a metaphor it is vitally important that they use the metaphor in a way that honors rape victims. This painting fails to do that on several levels. (more…)

Slobodan Milosevic by Nina Maria Kleivan from the photoessay "Potency"

Slobodan Milosevic

Idi Amin by Nina Maria Kleivan from the photo essay "Potency"

Idi Amin

Saadam Hussein by Nina Maria Kleivan from the photoessay "Potency"

Saadam Hussein

Chairman Mao by Nina Maria Kleivan from the photoessay "Potency"

Chairman Mao

Augusto Pinochet by Nina Maria Kleivan from the photoessay "Potency"

Augusto Pinochet

Joseph Stalin by Nina Maria Kleivan from the photoessay "Potency"

Joseph Stalin

Adolf Hitler by Nina Maria Kleivan from the photo essay "Potency"

Adolf Hitler

The photographs to the left are part of a photo essay titled “Potency” by Nina Maria Kleivan. Its intent is to question how innocent children become pinicles of evil. The photographer is the daughter of a a member of the Norweigian WWII resistance who eventually was captured and placed in a German concentration camp. As a child her anger at what her father suffered was so intense that she carried around the name of one of her father’s prison guards in hopes of one day killing him. As a new mother she was struck by the innocence of children and then by the seeming innocence of dictators. “When all you see is a picture, Stalin could’ve been anyone’s kind grandfather. You can’t see the millions of people on his conscience or what a paranoid, dreadful human being he was.” she tells HaAretz.

Evil doesn’t always “look evil”. We come to associate the dress of Hilter or Mussilini or Idi Amin or Sadaam Huessein with evil because of a life long chain of choices. Those choices lead to personal actions and even world events that define a person. The actions and their outcomes, not the clothes make a dictator or a rapist.

Yet when we as a society finally acknowledge evil, we tend to look at the outside. The characteristic dress of the perpetrator becomes the symbol of evil and the process by which evil comes to be is lost. We forget that any of us, making the a certain chain of choices in a certain social context could be perpetrators of evil. In Klevian’s words to HaAretz:

We all begin life the same. We all have every opportunity ahead of us. To do good, or inexplicable evil. You need to be conscious that your actions have consequences that impact on your fellow human beings. The people I let my daughter portray didn’t give a damn about the human cost, the casualties, their thoughts caused. The responsibility is yours alone. You can’t throw it away – as a parent, as human beings – and say that you just followed orders.

Klevian raises important questions: where does evil come from? How does innocence become a symbol of evil? Unfortunately, much of the on-line debate has centered on whether a mother should or should not dress her child up in the clothes of dictators. When all one sees is a picture of a baby, it appears that all one sees is the baby. The child succeeds as a symbol of innocence, but fails as a symbol of choice.

We lose the tension between the grandfatherly picture of Stalin and the mass graves of the Stalinist purges carried out on his direct command. The clothes of an adult Hilter or Milosevic represent their choices because adults are actors in control of their life. Infants do not choose their clothes. At best their clothes represent the choices of their parents and the influence those parents will eventually have over the child’s life.

So is this an essay on the role of a parent in shaping a child’s moral identity? No, because at some point children become adults. They become moral agents in their own right and responsible for their own choices. The evil that so apalls us is the product of adult choices. Evil parents don’t always raise evil kids. In fact, childhood experiences of evil can bring out the best in human beings rather than the worst.

Dressing the child in the clothes of despot also fails as a symbol of the danger of following commands. Childhood in fact represents the one stage in life where following commands may lead to more rather than less morality. Most of society sees a child’s ability to follow commands as an essential step in moral training and development. How many times does a child share food or toys because their mother or father insisted that they do? Some children are naturally generous and outgoing. Others need to be encouraged.

Furthermore, the despots portrayed in Klevian’s photos were the ones who issued the commands. They were in full control of their moral agency and chose to use it to draw lines between friend and foe. All who supported them lived. All who opposed them were candidates for death. Of course they looked like kindly grandfathers. To the people they saw as friends, they were.