morgan m page

“EVERYONE IN STEM IS A NAZI”, 

“GAMERS ARE NAZIS” 

“EVERYONE LIVING IN A RURAL COMMUNITY IS UNEDUCATED AND PROBABLY AUTISTIC”

”GAMERGATE IS ALT-RIGHT AND IN ANY WAY RELEVANT POST-HULKMANIA”

”THE RIGHT WING HAS BECOME RADICALIZED BUT NOT ME NO SIR”

”THE ENTIRETY OF REDDIT AND 4CHAN ARE ALT-RIGHT”

”ANYONE WHO IS A MINORITY WHO DISAGREES WITH ME WILL BE FIRST AGAINST THE WALL FOR BETRAYAL”

”STRAIGHT MEN ARE NAZIS”

Like holy shit, the idiots who seriously believe any of this realize that they’re the reason Trump won, right?

…right?

youtube

SAY IT TO MY FACE - Performance Documentation (4 mins)


SAY IT TO MY FACE is a 40 minute long endurance performance by transsexual artist Odofemi (Morgan M Page). Exploring her experience as the target of multiple transphobic hate websites and petitions created by radical feminists, Odofemi stands naked at the front of a room. Projected onto her body is video footage of the hate websites. Audience members are instructed to approach the artist, where they are given a piece of paper with one of the actual comments on it. They are told to read it aloud, into the microphone, and then look Odofemi in the eyes. Odofemi moves as little as possible and does not react. Eventually the audience realizes that they have become implicated in perpetuating both the artist’s and their own trauma, and retaliates by giving the artist improvised positive affirmations, effectively reclaiming their agency.

youtube

SAY IT TO MY FACE - Performance Documentation

TRIGGER WARNING for transphobia & transmisogyny in video.

SAY IT TO MY FACE is a 40 minute long endurance performance (youtube video above is about 4 minutes) by transsexual artist Odofemi (Morgan M Page). Exploring her experience as the target of multiple transphobic hate websites and petitions created by radical feminists, Odofemi stands naked at the front of a room. Projected onto her body is video footage of the hate websites. Audience members are instructed to approach the artist, where they are given a piece of paper with one of the actual comments on it. They are told to read it aloud, into the microphone, and then look Odofemi in the eyes. Odofemi moves as little as possible and does not react. Eventually the audience realizes that they have become implicated in perpetuating both the artist’s and their own trauma, and retaliates by giving the artist improvised positive affirmations, effectively reclaiming their agency.

film critique of Morgan M Page's IYA MI KU YEO/death ate my mother

So I went to the Inside Out festival a few weeks back to watch some films.  One of the films I happened to catch was IYA MI KU YEO/death ate my mother by Morgan M Page.  The film is about Morgan reconnecting with the spirit of her dead mother.  In the description of the film it states that this journey is supposed to be about connecting with her Welsh roots.  However the spiritual elements she is using is Santaria which is a Nigerian practice.  Where the Welsh connection comes in I’m confused about.  If I wasn’t familiar with Santaria then I wouldn’t have known what was going on.  The black doll an the alter was the only clear giveaway that this was an appropriation of african culture.  Why the doll was there in the first place I have no idea.  

Now when I asked the question of the language being used in this film coming from Nigeria and why this was chosen Morgan answered that they practice Santaria and it has become something that influences them in their daily life. Hmmmm interestng.  What’s more complex about this situation is that the audience was predominantly white with no connection to Nigerian culture.  Someone previous to me asking my question wondered what language it was that they were speaking throughout the film because it wasn’t Gaelic.

Why this film was problematic for me and others who I had conversations with was because Morgan is a white female with no authentic presence i.e. is not Nigerian in Nigerian culture other than being drawn to it and practicing it for the past 5 years.  The fact that the movie was explained in the program as being “an experiment” is one point of contention.  How is it that a white person can “experiment” with african culture.  Why was the film not centered in Gaelic traditions which would have made more sense.  African culture is not a mask you can put on and take off whenever you see fit.  More importantly is that Morgan didn’t answer the question as to why she used Nigerian culture when I asked her.  Instead she gave me a response of how she’d love to talk to me about it later, yet proceeded to send me an email explaining why it wasn’t cultural appropriation.  

When creating art you need to be able to answer questions based on your creativity.  Especially when a lot of us left that theatre being like “wtf” when you didn’t explain why your movie made no sense.  I, as well as others would have appreciated why you felt it was ok to invoke the spiritual aspect of Nigerian culture when the whole basis of your film was to connect to your Welsh heritage.  

I waited a week after I responded to your email about actually having a live conversation because I felt it was important to give you a chance to speak to me.  You never responded which makes it worse because you must know you weren’t in the right for that bullshit.

You claiming that the people who inducted you into Santaria don’t care that you’re white but it’s more of a problem that you’re trans is bullshit. And you claiming that they don’t see it as appropriation is too.  You do not get to absolve yourself of accountability to the community because a handful of people like you.  As an artist taking on someone else’s culture you have to be able to explain your motives for your art truthfully.  If you can’t do that then you shouldn’t be creating that kind of art.

I’m critiquing you because as an African you are not more authentic then I am because some priest has taken you in.  You are not exempted from being called out on your appropriative art and stating that not a lot of people know about that language because guess what there are enough Nigerians who do.  Maybe the white audience is lacking in awareness but who are you to use African culture to showcase to white audiences without clear explanation.  It’s irresponsible and disrespectful.

Just my two cent.

kalmplex


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OFTV 1: Whatever Happened To Rachel
One from the Vaults is a new trans history podcast. Join us for our pilot episode as we take a look at the mystery of Lou Reed's transsexual girlfriend Rachel. Sources: http://www.jaynedoll.pwp.bluey

Morgan M Page has a great new podcast about trans history that is absolutely worth your time to listen. The first episode was great and I’m so excited about future episodes!

Me performing lastnight at No Pants No Problems! I did a song from an old 1950s musical, sung by Kristin Chenoweth, called If You Hadn’t, But You Did. Oh, Supreme Court, if you hadn’t, but you did!

Photo of me during my performance at No Pants, No Problems Montreal lastnight at Il Motore. I performed to Peaches’ Mommy Complex while dressed as the Virgin Mary and gave myself a c-section on stage.

In the audience was Métis transsexual performance and video artist legend (and my personal artistic role model) Mirha-Soleil Ross, making this one of the highlights of my performance career. My continued use of (transsexual) pregnancy as a theme in my cabaret performance work is an homage to Mirha-Soleil’s 9 month long Pregnancy Project, in which she wore a pregnancy bump for nine months every time she left her house.

Montreal!

I just woke up in some guy’s bed in Montreal. Olive-or-Oliver and I are staying in one of their friends’ apartments for a few days while their friend is out of town, which is awesome. The apartment is a bit messy (I thought for a minute, when we first walked in, that the place had been burgled), and, because it’s two guys who live here, everything smells like week-old spunk and boysweat. I’m wondering if it’s more polite to clean their apartment, or to leave it undisturbed.