Double Rejection for Parthenon Marbles’ Return to Greece

The Greek government’s request for the Parthenon Marbles’ return to Greece, which is being facilitated by UNESCO, was once again denied, via two letters sent to the organization by the British government and the British Museum. This, of course, has led to another dead-end in discussions regarding the matter.

In their letter to UNESCO, dated March 25, the British Museum curators addressed their letter to Assistant Director-General for Culture Alfredo Pérez de Armiñán. “After full and careful consideration, we have decided respectfully to decline this request. We believe that the more constructive way forward, on which we have already embarked, is to collaborate directly with other museums and cultural institutions, not just in Greece but across the world. Read more.

Moving Beyond Organizing to “Seize Power”

This also means that, like the Zapatistas, we need to refuse the history and traditions of left organizing that seek to “seize state power” and which claim the “leadership” of the working class. These forms of organizing end up replicating all the old shit – relations of hierarchy, command, top-down relations, forms of oppression, and of stifling grass roots and direct action initiatives and creativity. Instead we need to find ways to organize that facilitate and catalyze working class and oppressed people’s self-activity and their own power (“power to” as opposed to “power over,” to use John Holloway’s expression) and to facilitate the circulations of struggles to undercut and deconstruct the ‘power over’ of capital, bureaucratic and state relations, and various forms of oppression. These developments create new spaces for making actual the politics of revolution – but revolution no longer understood as the moment of insurrection, or of “seizing power” but as a long, and ongoing process of contestation and transformation in many different social sites and settings. It is not just capital and the state in a narrow sense that are the problem, but all forms of oppression and exploitation. An important part of the struggle involves a struggle against ourselves and for the transformation of ourselves since we are also implicated in capitalist relations and quite often relations of oppression (or “power over”).

Just went to a workshop facilitated by a friend’s group about survivor-centered accountability processes.

In the healing room now and I’m still taking in all of the things here that make space for what our bodies need on a daily basis - spaces for vulnerability, suvivorship, conversation, somatic and emotional healing, quiet. Things that, if we had access to each day, we would thrive even as the most tender black and brown queers.

Accessibility is so important - is central - here and this is what I always want my organizing to look like.

I am in tears almost everywhere I go because I have felt so many times that I didn’t have enough in me to go on and it means so much to be surrounded by people who have experienced similar trauma - and yet we are all here.

anonymous asked:

If Zayn already has a solo album in the works then that means he's premeditated his leave and decided to do so in the middle of their tour. Which also means the cheating this was set up(makes sense because it was reckless as hell) to facilitate his leave. VERY NASTY.

he SAID he wS taking a BRWAK chill

The more democratic a group or campaign is, the more effective it is, as all people involved can have an input and feel a part of the project.

Although often basic, this information is essential for the smooth-running of an organisation and sticking to these simple guidelines can make the difference between a long lasting successful group and a failure.

Below find tips on many aspects of organising, from facilitating meetings and financing your group, to structure and making decisions.

If you ever wondered just what Migi tweaked with that alien open heart surgery of his, here you go.

Edit: I realized after the fact that my post-merger Shinichi was a pixel or two smaller than he ought to have been (assuming his head didn’t shrink any). Doesn’t seem like much, but it does show up in the measurements, Here’s your properly scaled one, complete with added imperial units.

Also, since I continue to have absolutely nothing to do this weekend, here’s Migi’s alterations by percentage:

Height: 5.2% increase

Neck width: 21% increase

Shoulder width: 12.8% increase

Chest width: 14.7% increase

Hip width: 9% increase

Leg length: 7% increase


I’ve been out for two days. I have a lot to say, but first of all, I’m very very happy to experienced those things :)) tagalog to! okaaay, nagkausap usap na kame, ung mga misunderstandings naayos. Sana mgng memorable tlga ang aming 2nd sem bilang 4th yr. There’s no guarantees in life :)) Madaming natutunan, lalo na sa facilitator ng grupo nmen, si Kuya Mike ; ngshare sia tungkol sa buhay niya, sa tatay niya. And pati dn sa mga pnipanuod samen n nkkainpire :)) un laaang. sana ma-apply nmen sa buhay ung mga natutunan namen :))

Antagonist work in T.O.

I realized last night during my weekly Theatre of the Oppressed get together that although Boal originally formed Theatre of the Oppressed to address the problems of the Oppressed (protagonist) the work of the Antagonist (Oppressor) is very important in the process if not more so. 

During an activity I facilitated, I asked participants to walk around the space and to think of a moment of oppression in their life. To think of things people have said to them in their life to make them feel small, belittled, unworthy, etc… Their task then was to embody their oppressor. How do they walk, hold themselves, interact with others… and to think of something very specific to that oppressor- a twitch, a limp (exaggerated of course!)

Maybe it was my lack of spanish to explain the activity well, but it was clear that this activity was very difficult for participants. When we debriefed later it was expressed by many that what was most difficult about the exercise was the act of recalling oppressive moments. And aside from that the idea of embodying the persona who is oppressive was a whole other problem! 

Some participants asked what was the point of the activity- I hadn’t really thought about it before but I new immediately why the work of the antagonist is important. It relates directly with the work of Forum Theatre- a tool used to rehearse/ reenact situations of oppression so that spect-actors and practice their solutions for the real world. It’s a very therapeutic process and certainly not an easy one. 

In order for Forum Theatre to be beneficial to those who want to utilize it as a self-transformation tool the person playing the antagonist needs to play the part sufficiently so that when spect-actors come in to play out their solution that the antagonist does not change suddenly- this is called MAGIC! 

As the saying goes, “keep your friends close and your enemies closer”. There is no way to win la revolucion if you don’t know where to begin to practice it! 

I find it difficult to understand why other people are more interested in the process of what I produce than the content.
—  Lucy Blackman (woman with autism who uses a keyboard to communicate, formerly using FC, now typing independently, and people care more about that than what she actually has to say, to the point she has been reluctant to contribute to books on autism)

OK no you know what I really hate and yet I keep seeing on my dash right now? It’s when kids’ Vines or videos go viral for stupid reasons. Like a 10 year old boy singing a song really badly, or a 13 year old girl freaking out over a TV show in a totally embarrassing and over the top way. I hate seeing people reblog those things, those reminders of a kid’s mistakes, and laughing at them. It makes me really really angry because the more notes / views those videos get, the higher the chance of someone at that kid’s school seeing the video. The higher the chance of that kid becoming a laughing stock, no matter how fleeting the fascination with their perceived indiscretion.

I can relate on some level to it because I made a few YouTube videos when I was in school - nothing too embarrassing, just me talking to a webcam about my experiences with bullying (how ironic) but someone from my school found them and sent the link around to everyone, and truly, it was awful. I couldn’t go to school for a week, and that was just a video seen by 500 or so people. I honestly don’t think I could have coped if it had been more.

It’s bad enough having kids laugh at you for your hairstyle or your accent; something subjective, something where the fallout is localised. Something that happens when you’re at school, but you can switch off at home. It’s absolutely horrendous, but at least there’s a respite. But when it’s something that millions of other people have seen, something that millions of other people are laughing at and sharing with their friends so that they can laugh at it too - I can’t even imagine how awful that must be for a child. I really can’t. It would be inescapable, knowing that whether you were at school or at home, asleep or awake, there would be someone looking at your humiliation and finding humour in it. You wouldn’t be able to get away from the shame of it.

And kids make mistakes. That’s part of being a kid. Sometimes, with the Internet being as global and connected as it is, these kids make mistakes in public and leave a very obvious record of it. When this happens, it’s best to let that mistake lie, and not spread it around. Don’t multiply that mistake tenfold and throw that kid headfirst into a situation that they are not emotionally mature enough or equipped to deal with.

It should be simple: don’t post anything that’s going to be harmful in any way to another person. Just have a little empathy for the repercussions of sharing that post. Kids these days are exposed to so much ridicule. It’s bad enough when the ridicule is limited to your peers, but when it extends to people you haven’t even met, people who don’t know you but whose comments and laughter you can clearly see if you look for it - I can’t imagine something more difficult for a child or adolescent to deal with at such a fraught time in their development.

I really hope that this isn’t coming across as tone policing or anything like that, and I hope it’s not overstepping a metaphorical line or placing myself on a pedestal that doesn’t exist, but it really is something that I feel very strongly about indeed. Kids and teenagers these days have it hard enough already, with the expectations of their elders to live up to and the social standards of their peers to meet. For the love of Marilyn Manson’s forthcoming and highly anticipated ninth studio album, please don’t make it any harder for them.