David Khari Webber Chappelle’S Show – Test’s In Life – Women Time!


imgur.com/gallery/Ocj7L4q

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twitter.com/actingnetworks/status/1107504070619791360

[𝗚𝗼𝗼𝗱 Morning] World 😴 

I 𝗯𝗼𝗹𝗱 text, {𝙎𝙩𝙮𝙡𝙞𝙨𝙚} 🙂 

W͟r͟i͟t͟e͟ If 𝙄  M͟i͟s͟t͟a͟k͟e͟, line through w̶o̶r̶d̶ If 𝗬𝗼𝘂 𝗟𝗶𝗸𝗲 2 𝗱𝗼 the same 4 𝗬𝗼𝘂𝗿 𝙁𝘽 𝙋𝙊𝙎𝙏𝙎 𝘼𝘿𝙎, to attract M͟o͟r͟e͟ 𝙀𝙣𝙜𝙖𝙜𝙚𝙢𝙚𝙣𝙩 🛑 𝗺𝗲𝘀𝘀𝗮𝗴𝗲 me, I’ll c͟o͟n͟t͟a͟c͟t͟ U

https://twitter.com/actingnetworksstatus1107504070619791360?s=12


[𝗚𝗼𝗼𝗱 Morning] 𝙇𝙤𝙣𝙙𝙤𝙣 😴
I can ‘𝗯𝗼𝗹𝗱’ text, {𝙎𝙩𝙮𝙡𝙞𝙨𝙚} 🙂
right…Oops, W͟r͟i͟t͟e͟ ͟o͟r͟ ͟U͟n͟d͟e͟r͟l͟i͟n͟e͟
If 𝙄 make a M͟i͟s͟t͟a͟k͟e͟, just draw a line through the w͟o͟r͟d͟w̶o̶r̶d̶. 👀
If ’𝗬𝗼𝘂’ would 𝗟𝗶𝗸𝗲 to 𝗱𝗼 the same with 𝗬𝗼𝘂𝗿 ‘𝙁𝘽 𝙋𝙊𝙎𝙏𝙎, 𝘼𝘿𝙎, to attract much ‘M͟o͟r͟e͟’ 𝙀𝙣𝙜𝙖𝙜𝙚𝙢𝙚𝙣𝙩, leave me a 🛑 𝗽𝗿𝗶𝘃𝗮𝘁𝗲 𝗺𝗲𝘀𝘀𝗮𝗴𝗲, and I’ll c͟o͟n͟t͟a͟c͟t͟ /𝗬𝗢𝗨/ 🌍🌏🌎

The wireless charger combines a Qi wireless charger with a gravity linkage phone holder in one unit.



The wireless car charger makes it easier to grab your phone and use it when you need to.

Take off your phone case or use slim case and adjust your phone to the best charging position.

Is ONLY available for Samsung Galaxy S8, S8 Plus, S7 Edge, S7, S6 Edge Plus, Note 5, while Standard Charging for iPhone 8/8 Plus, iPhone X, and other Qi compatible smartphones.

Not only used in your car but also can be used in your office or your room.


www.linkedin.com/feed/update/urn:li:activity:6513735211488993280

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Let me show you how 2 get more #followers/Soc #Media #engagement, using spec #SaaS (#Software) and #Video_Productions, to get your #Online/#Offline #biz boomin, build #responsive #Websites, utilising things like #Ai (#Artificial_Intelligent🤓 #Bots) to for example handling #queries and help, #support like using a #VA (#Virtual_Assistant) to literally Engage with all your Website #Visitors (this is useful for #Facebook_Retargeting_Campaigns) whilst you are busy looking after other aspects of #business.

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Police👮‍♀️Stop & Search


The Government Creates a Problem by Using the Corrupt Media into fooling the Public into thinking that we as a nation have a knife 🔪 crime epidemic 😷 that is out of control.

They are using a technique called:

1) Create a ‘Problem’ via “Media Networks” they already own.

2) Then, the Public Must ‘React’ To ‘The Problem’ as expected (with Hidden organisations feeding the fire 🔥 Of Deception To muster a change in the Legal System.

3) Then, Mr Government, offers a no choice ‘Solution’ to the Problem they created to begin with.

The reason for this is to diminish your capacity as man 👨🏿 or simply put, to deny everyone of their Unalienable Right to live Free, as intended. But for purposeful distractions!

What = Gender Mr Europe bring Forth? Wake Up or Miss what y’all Offspring are being exposed to without your full knowledge or consent!


What = Gender Mr Europe bring Forth?

Wake Up or Miss what y’all Offspring are being exposed to without your full knowledge or consent!

plus.google.com/+Actingnetworks01/posts/gLNp5vRHpVN

White Inferiority Complex Kills All Life Slowly!


Read this…👍👍👍

*Killer speech by Zimbabwe President Robert Mugabe:*

_”Racism will never end as long as white cars are still using black tyres. Racism will never end if people still use black to symbolise bad luck and white for peace. Racism will never end if people still wear white clothes to weddings and black clothes to funerals. Racism will never end as long as those who don’t pay their bills are blacklisted not white listed. Even when playing snooker, you haven’t won until you’ve sunk the black ball, and the white ball must remain on the table! ………….But I don’t care, as long as I’m still using white toilet paper to wipe my black ass, I’m happy.”_

🤣🤣🤣🤣🤣🤣


European High nobility dressing up as ‘Moor’, ‘Ethiopian’, African or African continent

esther schreuder
7 years ago

Husarisch Tournament Kunsthistorisch Museum Wien (from Wir sind helden)
It is hardly common knowledge that European High nobility liked to dress up as ‘Moor’, ‘Ethiopian’, African or African continent, a few centuries ago.  

Wir sind helden
The court of Württemberg 1616 –1617

Special festivities offered a perfect opportunity for a ruler to assume the role of an ‘African’, an ‘Ethiopian’ or a ‘Moor’. From the late Middle Ages feasts and tournaments were important occasions to celebrate a baptism, wedding or ceremonial arrival by a European ruler. Such festivities included triumphal processions and the staging of mock battles between companies such as the ‘Christians’ and the ‘Moors’, or ‘Scythians’ and deviant groups such as ‘impostors’.

There were also tournaments and dancing. Exotic costumes played a popular part in all these activities. Whites assumed the appearance of blacks and genuine blacks were prominently deployed in attractive roles. Special masks were made to enable whites to play a ‘Moor’.

Most of these performances were not simply intended as entertainment, for their chief purpose was visual propaganda.

A record of such festivities, organised to celebrate a baptism in Stuttgart in 1616, is provided by the print book Repraesentatio der fürstlichen Aufzug und Ritterspiel from 1617. Some of the prints were produced by the Dutch draughtsman, print artist and goldsmith Esaias van Hulsen 1570 –1625?, who was employed by the court of Württemberg. The festivities and the print book were commissioned by Duke Johann Friedrich of Württemberg 1582 –1628, who had allied himself with the Protestant rulers of Europe. The prints, which represent the ballet, the feasts and the tournament, incorporate various black figures.

Repraesentatio der fürstlichen Aufzug und Ritterspiel the Tanz der Nationen
An intriguing print in the Repraesentatio is that of the Tanz der Nationen (Dance of the Nations) showing four large heads, one of which is a black Moor’s wearing a bandana. According to the caption that accompanies this print, a Moorish dance with an ‘Ethiopian jump’, or cartwheel, was performed before these heads.

The anthropologist Monika Firla has discovered through documentary research that the part of the dancing Moor who executed the Ethiopian spring was played by none other than Duke Johann Friedrich himself.

The print depicts the duke with a bare torso and feather headdress, taking a run-up to his cartwheel. Johann Friedrich thus chose to take on the character of a dancing, exotic, half-naked black man. So the roles were briefly reversed, a not unusual occurrence at court festivities.

Johann Friedrich
The Tanz der Nationen is followed by prints showing processions of powerful men and their retinues which include various black Africans. Friedrich V of the Palatinate 1596 –1632, sometimes known as ‘the Winter King’), who later moved to The Hague, has an Ethiopian kettledrummer on horseback in his calvacade, a ‘natural’ (natürlicher) Ethiopian according to the accompanying text. He is followed by Roman trumpeters. The kettledrummer’s torso is bare; his body is described by the text as ‘sunburned’.

Repraesentatio der fürstlichen Aufzug und Ritterspiel
Curiously, it is only black musicians who are sometimes depicted with a bare torso, possibly intended to allow their black muscular bodies to make more of an impression. In any case, the singular and imposing appearance of black drummers certainly reinforced their symbolic function as proclaimers of noble might. Kettledrums and trumpets are traditional attributes of rulers.

Remarkably, all the black Moors in the Württemberg print book are depicted wearing fine red clothing. This colour may be connected with the fact that the ‘Moor’ could also be used as a symbol for fire. In 1617, the same year in which the print book was made, Esaias van Hulsen produced another print which shows a carousel tilting match on the theme of the four elements. The Moors symbolise fire, the Turks air, the Romans earth and the ‘Americans’ water.

On this occasion the ‘Moors’ were led by Julius Friedrich von Württemberg, the duke’s brother.

Anna of Denmark 1574 –1619

Anna van Denemarken Marcus Gheeraerts the Younger
The wife of Friedrich V of the Palatinate, the man with the ‘natural’ Ethiopian in his retinue, was Elizabeth Stuart 1596 –1662, daughter of the English queen Anne of Denmark.

In 1605 Queen Anne 1574 –1619 had commanded Ben Johnson to write a masque, the Masque of Blacknesse, in which black characters play the leading role. Queen Anne herself took the part of the principal character, the black daughter of King Niger.

The masque may have held personal significance for Anne, who found herself in a difficult position at court owing to her adherence to the Catholic faith in a Protestant environment. She probably felt an outsider and could thus identify with the position of blacks in a white society.

Paul Somer Anne of Denmark 1617
In 1617 Anne of Denmark had herself portrayed with a black page by the Flemish artist Paul van Somer (c. 1576 –1621), thereby becoming one of the first northern European nobles to be depicted with a black companion. The page is conspicuously larger than the queen in this portrait.

As far as is known, only three people had already been represented in this fashion in southern Europe: Laura de’ Dianti (? –1573) who was portrayed by Titian in the company of a black girl (c. 1521), Johanna of Austria 1536 –1573 who was painted with a black boy by Cristóvão de Morais in Portugal (1553) and an anonymous general who was accompanied by a black and a white page in a work by the Italian artist Paris Bordone (c. 1540).

 

Paris Bordone (c. 1540).
Some kings and emperors and other high-ranking individuals seem to have been attracted by the idea of having striking foreigners as their companions, for they were also exotic creatures who lived outside the confines of society. In this way they could fragment and reinforce attention.

The roles and representation of black people at court, described above, are encountered on a large scale at other European courts too. Splendid accounts have survived, for example, of festivities held at the Scottish court around 1500,and Ludovico Sforza 1452 –1499, Duke of Milan, used black Africans as his personal symbol. His sons were occasionally depicted as realistic black Africans. Elizabeth McGrath has also for example drawn my attention during the research to the ceremonial entry into Antwerp by the Habsburg Archduke Ernst of Austria 1553 –1594 in 1594, at which both genuine and imitation Africans were deployed, with Baron Jan de Bernesteyn taking the role of the king of Ethiopia.

Esther Schreuder  contact: estherschreuderwebsite@gmail.com

All photos on this site are not intended for any commercial purpose. I have tried to trace all the rules and rights of all images. As far as I know, these images can be used in this way. If you ar a copyright holder and would like a piece of your work removed or the creditline changed then please do not hesitate to contact me.

For more information  estherschreuderwebsite@gmail.com

Footnotes and more f.i. prof Elizabeth McGrath on the Masque of Blacknesse in

Black is beautiful, Rubens to Dumas (ed Elmer Kolfin, Esther Schreuder) 2008

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-Peter Martin, Schwarze Teufel, edle Mohren. Afrikaner in Geschichte und bewusstsein der Deutschen, 2001

-Black Africans in Renaissance Europe ed T.F. Earle and K.J.P. Lowe. 2005

-H.W. Debrunner, Presence and Prestige Africans in Europe, 197

-M. Firla, Exotisch-hofisch-bürgerlich, Afrikaner in Württemberg vom 15. bis 19. Jahrhundert 2001

-ten.cat. Der Mohrenkopfpokal von Christoph Jamnitzer Bayerisches Nationalmuseum München, 2002

-tent cat Wir sind Helden, Habsburgische Feste in der Renaissance Kunsthistorisches Museum Wien, 2005

The Image of the Black in Western Art

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Categories: Africa, Black is beautiful, Rubens to Dumas catalogue, In English, Royalty
Tags: Anne of Denmark, blackface, ethiopian, Masque of Blacknesse, moor, nobility, Royalty, Wurttemburg
Esther Schreuder

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