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Archive for the 'Comedy' Category
The Judeo-Christian Tradition and the Drumpf: Merry Christmas, ISIS
In 2014 Adam Zagoria-Moffet, currently Rabbi at the St Albans Masorti Synagogue, suggested that the concept of a Judeo-Christian tradition was actually coined in the course of the 1940s by none other than General Eisenhower (1890-1969). And in 1952, Eisenhower set out to connect his coinage with the historical figures of the U.S. Founding Fathers, Zagoria-Moffet continues reproducing part of a speech then delivered by Eisenhower: '"all men are endowed by their Creator." In other words, our form of government has no sense unless it is founded in a deeply felt religious faith, and I don't care what it is. With us of course it is the Judeo-Christian concept, but it must be a religion with all men created equal'.(1) In the same year, the German American Christian existentialist philosopher and theologian Paul Tillich penned a piece carrying the meaningful title "IS THERE A JUDEO-CHRISTIAN TRADITION?" . . . and he the goes on to pose the following query "[i]s it meaningful to say that Christianity is a Jewish or that Judaism is a Christian heresy?" only to then retort: "I answer in the affirmative".(2) Tillich's answer betrays the inherent problems of the coinage of a Judeo-Christian unity, given that anti-Semitism has been one of the important building blocks of Christianity, with the trope that Jesus was killed by the Jews functioning as the main justification for the many persecutions and progroms inflicted upon Jewish communities in Christian lands. Zagoria-Moffet, for his part, adds insightfully that the "Judeo-Christian value system that American political commentators love to reference has no precedent in history (in fact, quite the opposite), but it also has no basis in the theological and ethical systems of the two faiths. Advocates of the use of 'Judeo-Christian' as an acceptable adjective fail to acknowledge that the very core of their argument – that Judaism and Christianity share essential values – is simply untrue. It's impossible to adequately compare two extremely developed theological systems – not even in a multi-volume work, much less in a blog post. For the sake of brevity, simply consider some basic principles of each faith. Law, salvation, afterlife, sin, hierarchy, ritual, monotheism – even belief, faith, and practice – nearly every component of an authentic Christian practice and an authentic Jewish one differ in an elementary way. If we wish to be precise (which we should), it simply doesn't make sense to consider Judaism and Christianity as sharing the same outlook on God or the world".(3)
Still, it seems safe to say that the idea of a Judeo-Christian value-system has by now become nearly universally accepted in the West, meaning Europe and America, with such added components like Australia and New Zealand as well as Israel. In the 21st century, particularly following the tragic events cursorily known today only as "9/11", the idea of a Judeo-Christian unity seems to have been superseded by the even more outlandish yet academically quite commonsense notion of Abrahamic religions sharing the same god, namely the God of Abraham. Thereby suggesting the existence of a kind of social corollary in the form a united fold of believers or the happy coexistence of Jews, Christians and Muslims – a coexistence that is supposed to act as a moral and social counterweight against sectarian violence, Islamist terrorism and Islamophobic outrages. The renowned religious scholar Aaron W. Hughes, however, suggests that "Abraham" as a "symbol of ecumicism" could "just as easily [also] function . . . as one of division and exclusivity. [A veritable] dialectic of history and myth, inclusivity and exclusivity, is the true progeny of Abraham as the three monotheistic religions have sought to define themselves and their relationsip to one another".(4) Nowadays, the idea of an Abrahamic God is commonly used as a gateway to interfaith dialogue to counter a possible "Clash of Civilizations", the proverbial Huntingtonian sword now threatening global peace, security and stabiltiy.
In contrast, particularly now that the current US. President, Donald J. Trump aka the Drumpf, is regularly in the habit of invoking the notion of "Judeo-Christian values" ,(6) I would say that the trope of a "Clash of Civilizations" rather than interfaith dialogue has moved to the centre of attention again. He was recently speaking at "an annual socially conservative conference", the 2017 Values Voter Summit, and he did his best to dispell any notion that Christians are safe and sound today. The event took place on 13-15 October 2017 at the Omni Shoreham Hotel.(7) The dedicated website explains as follows: "Values Voter Summit was created in 2006 to provide a forum to help inform and mobilize citizens across America to preserve the bedrock values of traditional marriage, religious liberty, sanctity of life and limited government that make our nation strong. It has drawn over 3,000 plus attendees from around the nation and foreign countries. Garnering national and international media attention, CNN has called it 'one of the top 10 political events of the year' and 'one of the conservative movement's marquee annual events'. Sean Hannity called it 'the premier conservative event now in the country'. VVS showcases the nation's leading conservative voices including Republican presidential hopefuls. Previous speakers have included then-candidates Donald Trump and Mike Pence; Governor Mike Huckabee, Sam Brownback, Bobby Jindal and Rick Perry; Senators Ted Cruz, Lindsay Graham, Mike Lee, Rand Paul, Marco Rubio, Tim Scott and former Senator Rick Santorum; Representatives Michele Bachmann, Steve King, Paul Ryan, Steve Scalise and former Representative Allen West; media personalities Glenn Beck, Dr. Bill Bennett, Erick Erickson, Sean Hannity, Mark Levin, Lt. Col. Oliver North, Duck Dynasty's Phil Robertson; and Bill O'Reilly; Dr. Ben Carson, Donald Trump, Kirk Cameron, Star Parker, the Benham Brothers, national pro-life advocates including Lila Rose and David Daleiden, whose investigative work exposed the truth about Planned Parenthood; nationally recognized terrorism expert Brigitte Gabriel; and national best-selling authors Joel Rosenberg and Rabbi Jonathan Cahn. Mariam Ibraheem, the Sudanese Christian sentenced to death for her faith, was honored with the inaugural Cost of Discipleship Award in 2014, and in 2015, Kim Davis, the Rowan County, Kentucky Clerk, who refused to issue marriage licenses to same-sex couples, was awarded the second inaugural Cost of Discipleship Award".(8)
The Drumpf addressed the gathered Christians, off-handedly remarking, "[a]nd we stand united behind the customs, beliefs and traditions that define who we are as a nation and as a people", arguably keeping his six bankrupcies and two divorces in mind. Unperturbed by his own apparent moral failings, going on to say that "George Washington said that 'religion and morality are indispensable' to America's happiness, really, prosperity and totally to its success. It is our faith and our values that inspires us to give with charity, to act with courage, and to sacrifice for what we know is right. The American Founders invoked our Creator four times in the Declaration of Independence — four times. [Applause] How times have changed. But you know what, now they're changing back again. Just remember that. [Applause] Benjamin Franklin reminded his colleagues at the Constitutional Convention to begin by bowing their heads in prayer".(9) In the next instance, the Drumpf states that "[r]eligious liberty is enshrined in the very first amendment of the Bill of Rights. And we all pledge allegiance to — very, very beautifully — 'one nation under God'. [Applause] This is America's heritage, a country that never forgets that we are all — all, every one of us — made by the same God in Heaven. [Applause] . . . To protect the unborn, I have reinstated a policy first put in place by President Ronald Reagan, the Mexico City Policy. [Applause] To protect religious liberty, including protecting groups like this one, I signed a new executive action in a beautiful ceremony at the White House on our National Day of Prayer — [applause] — which day we made official. [Applause] Among many historic steps, the executive order followed through on one of my most important campaign promises to so many of you: to prevent the horrendous Johnson Amendment from interfering with your First Amendment rights. [Applause] Thank you. We will not allow government workers to censor sermons or target our pastors or our ministers or rabbis. These are the people we want to hear from, and they're not going to be silenced any longer. [Applause]".(10)
Leaving the provision of abortion in foreign lands, the Drumpf turned homeward at a later point, exclaiming that "[w]e are stopping cold the attacks on Judeo-Christian values. [Applause] Thank you. Thank you very much. And something I've said so much during the last two years, but I'll say it again as we approach the end of the year. You know, we're getting near that beautiful Christmas season that people don't talk about anymore. [Laughter] They don't use the word 'Christmas' because it's not politically correct. You go to department stores, and they'll say, 'Happy New Year' and they'll say other things. And it will be red, they'll have it painted, but they don't say it. Well, guess what? We're saying 'Merry Christmas' again. [Applause] and in another instance, turning his gaze outwards again: "In protecting America's interests abroad, we will always support our cherished friend and partner, the State of Israel. [Applause] We will confront the dangers that imperil our nation, our allies, and the world, including the threat of radical Islamic terrorism. [Applause]".(11)
(1) Adam Zagoria-Moffet, "The Myth of a Judeo-Christian Tradition" State of Formation (07 April 2014). http://www.stateofformation.org/2014/04/the-myth-of-a-judeo-christian-tradition/.
(2) Paul Tillich, "IS THERE A JUDEO-CHRISTIAN TRADITION?" Judaism, 1.2 (01 April 1952), p. 106. http://search.proquest.com/openview/96dcfb348d31a59c7d2b7817a57a2582/1?pq-origsite=gscholar&cbl=1817128.
(3) Adam Zagoria-Moffet, "The Myth of a Judeo-Christian Tradition".
(4) Aaron W. Hughes, Abrahamic Religions: On the Uses and Abuses of History (Oxford, 2012). p. 1. https://books.google.de/books?hl=en&lr=&id=0K3Ia1rQCZEC&oi=fnd&pg=PP1&dq=abrahamic+religions&ots=Mi6YAL7Hz4&sig=dRmwBOwO71W2JiypgSo052GVwmU#v=onepage&q=abrahamic%20religions&f=false.
(6) Dan Merica, "Trump: 'We are stopping cold the attacks on Judeo-Christian values'" CNN (13 Oct 2017). http://edition.cnn.com/2017/10/13/politics/trump-values-voters-summit/index.html.
(7) 2017 Values Voter Summit. http://www.valuesvotersummit.org//.
(8) "VVS17 ★ ABOUT VVS" 2017 Values Voter Summit. http://www.valuesvotersummit.org/about.
(9) "Remarks by President Trump at the 2017 Values Voter Summit" The White House. https://www.whitehouse.gov/the-press-office/2017/10/13/remarks-president-trump-2017-values-voter-summit.
(10) "Remarks by President Trump at the 2017 Values Voter Summit".
Americana, Christianity, Comedy, Current Affairs, Current History, Democracy, ISIS, Islam, Islamophobia, New Cold War, Political Commentary, Pop Culture, Uncategorized, USA, War on Terror
SECULARISM, BEER AND BIKINIS (2011-03-09)
HURRIYET DAILY NEWS
SECULARISM, BEER AND BIKINIS
CAN ERİMTAN
Some time ago, the Turkish government made public that it planned to alter the way in which alcohol is being sold in the country. According to some, the current Justice and Development Party, or AKP, government has been waging a war against the consumption of alcohol in the country in a bold-faced attempt to bring Turkey more in line with Islamic rules and regulations.
Two vocal critics of the AKP and its government, Soner Çağaptay and Cansın Ersöz, researchers affiliated with the Turkish Research Program at the pro-Israeli Washington Institute for Near East Policy, categorically write that since "the AKP rose to power in Turkey in 2002, special taxes on alcohol have increased dramatically, making a glass of wine or beer one of the most expensive in Europe, and for that purpose anywhere in the world." In June 2002, the AKP adopted the Special Consumption Tax, or ÖTV, which raised the tax on alcoholic beverages from 18 percent (the standard VAT rate) to 48 percent, and as time went by, the ÖTV rate increased more and more until it reached 63 percent in 2009. Subsequently, the government came under fire for its policy and in 2010, some ÖTV taxes were eliminated.
But now the Tobacco and Alcohol Market Regulatory Authority, or TAPDK, has issued new regulations restricting advertisements for alcoholic beverages as well as its sale tactics. The decree requires catering companies that organize events that serve alcoholic beverages to get a license before each event. While it also prohibits supermarkets and grocery stores from placing alcoholic products for sale near goods aimed at children and youngsters. In addition, the sale of alcohol will be banned at municipally owned establishments and along roads designated as highways and state routes in the traffic code. However, no such provision in the regulation will apply to the sale of alcoholic beverages at venues in coastal zones. Draconic measures which restrict access to a product which is already restricted as a result of its high price?
Çağaptay and Ersöz opine that in "2003, Turkey's per capita alcohol consumption rate was 1.4 liters per year. For that same year, this amount was 10.9 liters in Belgium; and 11.5 liters and 9.0 liters in neighboring Cyprus and Greece respectively. Even, Qatar, which implements a rigid version of the Shariah under the Wahhabi school, had higher per capita alcohol consumption rates than Turkey, at 4.4 liras per capita." In other words, Turkish citizens do not appear to partake of alcoholic beverages all that much to begin with.
Arguments claiming to protect the young are very popular when it comes to restricting access to "forbidden" products such as pornography and/or drugs the world over. Mehmet Küçük, the head of the TAPDK, has publicly said that the aim of the new decree was not to restrict individuals' freedoms but to lessen alcohol's incentive. In other words, Küçük merely wants to limit the availability of attractive seducers, arguably in a way somewhat similar to the effect of laws that eventually prohibited the Marlboro Man from riding into the sunset while willingly exposing his body to carcinogenic substances in Europe and elsewhere. Küçük is thus suggesting that Turkish citizens require a nanny-state that knows best what is right or wrong. Turkey, a country that straddles the Balkans and the Middle East with a population that is officially 99.9 percent Muslim, is arguably the only country with an Islamic population and culture that allows its citizens unrestricted access to alcoholic beverages. Are the new regulations regarding the sale of alcoholic beverages in Turkey a somewhat cynical ploy to increase the state's tax revenues or is there more than meets the eye?
In my opinion, the whole debate surrounding the consumption of alcohol in Turkey is primarily about perception. Opponents of the AKP government accuse Prime Minister Recep Tayyip Erdoğan and his ministers of secretly planning to introduce Islamic codes and attitudes via the backdoor. They thus regard this new TAPDK decree as a direct attack on the country's "secular constitution."
Is this really the case, and if so, why? In my book, "Ottomans looking West?" I posited that the "proclamation of the Republic . . . liberated Turkish citizens from the restrictions of Islam and the Şeriat [Shariah]." As a result, Republican Turks were meant to enjoy this world and its delights to the fullest and the decision to let Turkish citizens "partake of the delights of the mortal world was arguably crystallized in the consumption of alcoholic beverages. A strict interpretation of Islam explicitly prohibits the drinking of intoxicants in this world." Hence, the issue of unrestricted access to beer and other alcoholic intoxicants has now assumed political, if not ideological, importance.
Turkey's Muslim citizens have had legal access to alcohol since 1926. Turkey's Islamic neighbor states do not grant their citizens equally easy access to the forbidden delights of alcohol. As a result, some Turks regard the issue as critical to the definition of secularism in the country. In fact, the Oxford English Dictionary (OED) also defines secularism as "Concerned with the affairs of this world, wordly; not sacred."
But nowadays, the term, particularly in its French form of laicité (at the root of Turkey's laiklik), denotes a strict separation of church (or religion) and state. And, the theory is that Turkey, as a result of the reform movement, known as the İnkılap, is a secular state. In reality, however, ever since the Turkish state abolished the Caliphate and the Ministry of Pious Endowments in 1924, the Turkish Republic has regulated its citizens' religious life through the Religious Affairs Directorate, a branch of government attached to the office of the prime minister.
Consequently, proponents of secularism in Turkey quite naturally feel the need to attach a lot of importance to certain symbolic issues: the availability of alcoholic beverages springs to mind, as well as the thorny headscarf issue, or rather the notion that women possess the freedom to don more or less revealing outfits (arguably, to please the male gaze). Let us call these charged matters "beer and bikinis" as a shorthand for the contentious topic of Turkish secularism in the 21st century.
Ali Bardakoğlu, the president of the Diyanet until recently, publicly called for the establishment of an independent religious authority in Turkey in an interview he gave to the self-avowed atheist Ahmet İnsel of daily Radikal (Oct. 23-24, 2010). After he made these statements, Bardakoğlu was replaced by Mehmet Görmez as the head of the Diyanet (Nov. 11).
Alcohol, Atheism, Caliphate, Comedy, Current Affairs, Current History, Democracy, Europe, istanbul, Middle East, Political Commentary, Pop Culture, Pseudo-Ottoman, Tayyip Erdoğan, Turcica, Turkey, Uncategorized
Drumpfian Leaks: The Washington Post
Posting on his Facebook page, on 18 May 2017, the intrepid Pepe Escobar appears to reveal some inside knowledge hidden from view:
THE WAR ON TRUMP
My source "X" is furious:
"The major question is who in Trump's inner circle is the traitor leaking to the Washington Post? The Washington Post is conducting a campaign against Trump led by Trotskyite elements. The key national interest for the US is a rapprochement with Russia to avoid a nuclear war that the Russians are ready for. Trump is also trying to stop the attack on the American wage level by the .1% Trotskyite element on Wall St. who is stealing the nation's wealth through their cash settlement manipulations, and other acts of pickpocketing. Trump must stick to his guns."
That's not far from the credible narrative put together by old school intel ops not totally controlled by the War Party; "The issue is not necessarily what Trump has done or said. It is that Trump cannot trust even his inner circle of advisers. Whoever leaked the information was either in the room or had access to the minutes of the meeting. That means that someone with fairly robust access was willing to risk not just his or her own career but also the effectiveness of U.S.-Russia moves against the Islamic State, as well as U.S. credibility in the world and with allies that share intelligence. It makes Trump look bad, it makes the United States look worse, and it damages U.S. credibility for as long as the Trump administration is in power".1
As "X" says, "The issue is not necessarily what Trump has done or said", but rather as expressed by the well-known conservative political and cultural commentator David Brooks now more than a month ago, "Trump's greatest achievements are in the field of ignorance", elaborating in the next instance that "Trump's ignorance is not just an absence; it is a rich, intricate and entirely separate universe of negative information, a sort of fertile intellectual antimatter with its own gravitational pull".2 Brooks really explains the Drumpf in living colours: the "normal incompetent person flails and stammers and is embarrassed about it. But the true genius at incompetence like our president flails and founders and is too incompetent to recognize his own incompetence. He mistakes his catastrophes for successes and so accelerates his pace toward oblivion. Those who ignore history are condemned to retweet it".3
But these insights should not surprise us . . . Tony Schwartz, the actual author of the Art of the Deal, has been warning people ever since the Drumpf decided to run for president.4 And, the investigative journalist David Cay Johnston has been doing the same for years now, as he knows the man that is the Drumpf up close.5
1 https://www.facebook.com/pepe.escobar.77377?hc_ref=NEWSFEED&fref=nf.
2 David Brooks, "The Coming Incompetence Crisis" New York Times (07 April 2017). https://www.nytimes.com/2017/04/07/opinion/the-coming-incompetence-crisis.html.
3 David Brooks, "The Coming Incompetence Crisis".
4 "Tony Schwartz: The Truth About Trump" The Erimtan Angle. (s.d.). http://apob.tumblr.com/post/160224262702/tony-schwartz-the-truth-about-trump.
5' 'David Cay Johnston: "The Making of Donald Trump" The Erimtan Angle. (s.d.). http://apob.tumblr.com/post/160129875497/david-cay-johnston-the-making-of-donald-trump.
Americana, Capitalism, CIA, Comedy, Corruption, Current Affairs, Current History, Democracy, Elections, Foreign Policy, Iran, ISIS, Islamic State, Middle East, Military-Industrial Complex, NATO, New Cold War, Political Commentary, Pop Culture, Propaganda, Putin, Russia, State Department, U.S., U.S. Elections, Uncategorized, United Nations, US Congress, USA
The Russians are Running the DHSS
'Attila The Stockbroker performs "Russians in the DHSS", "Asylum Seeking Daleks" and "Attila The Stockbroker Cleans Up the City" live at the Cherry Red Records 30th Anniversary Party at Dingwalls London. Uploaded on 14 Jan 2009'.
On his Twitter account, the Stockbroker posted the following: "'Most people ignore most poetry because most poetry ignores most people' (Adrian Mitchell) I write poetry for people who don't like poetry. BHAFC, JezWeCan!".[1]
[1] "attilathestockbroker" Twitter. https://twitter.com/atilatstokbroka?lang=en.
Comedy, Current Affairs, Democracy, Europe, Political Commentary, Pop Culture, Propaganda, Uncategorized, United Kingdom
Dawkins and Mehdi Hasan
The well-known atheist Richard Dawkins debates the Al Jazeera journalist Mehdi Hasan, who is clearly out of his depth and apparently unable to imagine a world without purpose or meaning. Published on Jun 21, 2016.
Atheism, Comedy, Current Affairs, Evolution, Islam, Propaganda, Religion, Uncategorized
Panama Papers Fallout: Geneva, Switzerland
More than a week ago now, the NYT's Nick Cumming, Bruce and Eric Liptonjune wrote that an "employee of the law firm at the center of the leaks of the Panama Papers, which have revealed offshore wealth held in secretive accounts worldwide, has been arrested here on charges of data theft, one of the employee's lawyers, Romain Jordan, said on Wednesday [, 15 June 2016] It was not immediately clear what connection, if any, the person might have had with the Panama Papers, a trove of 11.5 million documents from a Panama-based law firm, Mossack Fonseca. A consortium of news organizations began publishing findings from the documents — some dating to the 1970s — in April [2016], and the disclosures have prompted investigations of politicians and other prominent figures around the world. On Wednesday, the Swiss newspaper Le Temps reported that an information technology employee in the Geneva office of Mossack Fonseca had been arrested on suspicion of stealing confidential information. Computer equipment was seized as part of the inquiry, Le Temps reported. Asked about the report, a spokesman for Claudio Mascotto, the chief prosecutor in Geneva, declined to comment. The spokesman said only that the office had opened a criminal investigation based on a complaint filed by Mossack Fonseca. The employee's name was not made public, and the lawyer did not give his client's name or provide any detail about him. Le Temps quoted a lawyer for Mossack Fonseca, Thierry Ulmann, as saying: 'What we know is that the data were removed from his computer in Geneva and that this I.T. worker had full access privileges'".[1]
Thierry Ulmann told Le Temps that "[t]he law firm filed a complaint against the worker for illegal removal of data and for violating the confidentiality of the law firm".[2] The Süddeutsche Zeitung's Bastian Obermayer "said on Wednesday [,15 June 2016] that the man arrested in Geneva was not his source who leaked the documents, but left open the possibility that there might be more than one person behind the leaks. In a phone interview, Mr. Obermayer said [furthermore] of the man arrested in Geneva, 'We can say that it is not the person that we have been in contact with', a statement he also made on Twitter".[3] Obermayer then said that "[t]here is still a theoretical possibility that John Doe is many persons, and one of them might be this person".
AFP reports that '[t]he spokesman for the Geneva's prosecutor's office, Henri Della Casa, told AFP that "a criminal case has been opened . . . following a complaint by Mossack Fonseca." He declined to comment on whether an arrest had been made. News of the detention was first given by the Swiss newspaper Le Temps, which said it had no information on whether the arrested individual was the so-called "John Doe" who has claimed credit for the unprecedented "Panama Papers" leak. Mossack Fonseca said in April [2016] that the leak was the result of a hack that came from foreign servers'.[4]
[1] Nick Cumming, Bruce and Eric Liptonjune, "Employee of Panama Papers Law Firm, Mossack Fonseca, Is Arrested in Switzerland" New York Times (15 June 2016). http://www.nytimes.com/2016/06/16/world/europe/employee-of-panama-papers-law-firm-mossack-fonseca-is-arrested-in-switzerland.html.
[2] Nick Cumming, Bruce and Eric Liptonjune, "Employee of Panama Papers Law Firm, Mossack Fonseca".
[4] "'Panama Papers' firm demands prosecution of suspect in Switzerland" AFP (18 June 2016). https://www.wort.lu/en/business/mossack-fonseca-panama-papers-firm-demands-prosecution-of-suspect-in-switzerland-5764ed8cac730ff4e7f62200.
Comedy, Corruption, Current Affairs, Current History, Cyber Security, Democracy, Edward Snowden, Interwebz, Political Commentary, Propaganda, Uncategorized


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SKEEPERS Raised More Than $100M Since November 2019
Influencer MarketingCustomer Experience Management
By MTS Staff Writer	 On Nov 8, 2021
SKEEPERS Surpasses $100M in Investment Funding from PSG to Support Acquisition of Innovative SaaS Solutions
With seven acquisitions under its belt this year alone, SKEEPERS acquires leading influencer marketing platforms in the US and Europe, Octoly and Hivency
The SKEEPERS Group, a provider of people-smart SaaS solutions that enable brands to generate value for and from their customers, announced with support from the PSG fund, it has raised over $100 million since November 2019. PSG is a leading growth equity firm that focuses on partnering with middle-market software and technology-enabled services companies. This latest funding was in addition to an initial fundraise of $32 million by PSG and SKEEPERS's founders.
SKEEPERS is using the funding to create an all-in-one marketing technology platform and acquire additional SaaS-based technology companies. Recently, the group acquired leading influencer marketing platforms Octoly and Hivency, adding notable brands, including LVMH, fresh, Clarins, and Amore Pacific, to its portfolio of over 6,500 world-class clients.
"We believe influencer marketing is essential for brands looking to strategically align themselves with the most trustworthy voices on social media. We're witnessing a noticeable shift in which authenticity and shared experiences are at the heart of the marketing industry – often brought to us by influential partners," said Pascal Lannoo, Chief Strategy Officer at SKEEPERS. "By bringing together the two leading influencer platforms in the U.S. and Europe, we're empowering brands to be more consumer-centric."
Marketing Technology News: Backblaze Strengthens Leadership With Two New Board Members
Octoly and Hivency enable brands across the fashion, beauty and food industries to authentically increase their visibility and boost sales through influencer and consumer recommendations. The platforms connect advertisers to consumers and meticulously vetted influencers (micro and nano) who produce social media posts and ecommerce reviews in exchange for a gifted product.
Advertisers can use a single tool to manage every facet of their campaigns including targeting, briefing, messaging, product shipping as well as real-time reporting and metrics. The platforms enable brands to seamlessly run campaigns at scale and offer hyper-targeting, curated TikTok, Instagram and YouTube influencers full-service logistics and content usage licensing.
Since Octoly and Hivency's inception in 2015 and 2016 respectively, both platforms have achieved rapid growth. In 2021, Octoly generated a 75% increase in revenue, in addition to 200% growth from 2019 to 2020. Combined, the platforms have the largest global network of trusted influencer voices and consumers.
Eli Curetti, CEO of Octoly, will join the SKEEPERS executive team as Country Manager for the USA, reporting directly to Pascal Lannoo, and the Octoly and Hivency teams will operate as part of an expanded portfolio of the SKEEPERS brand.
Marketing Technology News: MarTech Interview with Damien Mahoney, Co-founder and CEO at Stackla
"Historically, influencer marketing and consumer review campaigns used to be outsourced to marketing agencies, adding a third party between brands and creators. Through our merger with SKEEPERS, we are looking to give brands the opportunity to run self-serve campaigns at scale as well as offer more sophisticated measurement capabilities," said Curetti.
"fresh has partnered with Octoly since 2019 and they have helped us to scale our influencer marketing efforts, aiding us to discover new brand ambassadors, identify promotional partners and generate global user-generated content," said Tennille Kopiasz, Global Chief Marketing Officer, fresh. "Recently, we began leveraging Octoly's targeting capabilities and highly engaged beauty community to generate authentic, high-quality ratings and reviews for our website and for key retail partners. Octoly has become a valuable strategic partner for our core UGC needs."
The acquisitions follow seven strategic purchases by SKEEPERS over the past year and mark the next chapter for the company as it broadens its offerings and expands its product suite, enabling brands to master the customer experience cycle. Combined, Octoly and Hivency will be a key component of the SKEEPERS all-in-one platform solution, joining Visual Content (formerly TEESTER) and CX Management (formerly Mediatech-CX and MyFeelBack), Surprise and Advalo to form a marketing technology portfolio that supports all areas of the customer experience.
Marketing Technology News: Diversity Isn't Just Important, It's Good for Your Brand
Brandsinfluencer marketing platformsInfluencersInstagramNewsSaaS solutionsSKEEPERStechnology-enabled servicesTikTokYouTube
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redpajama_set_name: RedPajamaCommonCrawl


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Czesław Wojciechowski (1889-), oficer saperów Wojska Polskiego II RP
 Czesław Wojciechowski, oficer weterynarii Wojska Polskiego II RP
 Czesław Wojciechowski, oficer wojsk samochodowych Ludowego Wojska Polskiego
 Czesław Wojciechowski, badmintonista
 Czesław Wojciechowski, duchowny rzymskokatolicki
 Czesław Wojciechowski, inżynier, pedagog
 Czesław Wojciechowski (1934-), harcmistrz
 Czesław Wojciechowski (1920–2018), uczestnik II wojny światowej, pułkownik WP w stanie spoczynku, kawaler orderów

redpajama_set_name: RedPajamaWikipedia


Song of the Day: Andrew Bird and Norah O'Connor, "O Sister"
Ok, before I get to my coverage of and San Francisco's Treasure Island Music Festival, I wanted to share one more goodie from the Austin City Limits Fest, which also took place this weekend. Yesterday, I gave you an ACL performance of the Arcade Fire covering the Yeah Yeah Yeah's "Maps." Depending on your musical tastes, this cover could be even cooler.


Geraldine Robarts has been a prolific painter from the time she picked up the brush a loving relation gave her as a little girl. She hasn't stopped painting since then.
That may explain why Geraldine will hold a gigantic Christmas sale of her artworks this weekend, December 2nd and 3rd, from 10am to 6pm at her home at 56 Kibo Lane in Karen.
More than 2000 colorful oil paintings and prints will be available at more than 'affordable' prices. The prints will start from Sh1,000 each while the paintings will run anywhere from Sh5,000 on up.
Geraldine can easily be described as a doyenne of East African art, having taught countless Kenyan and Ugandan artists from the 1970s. She spent several years at Makerere University teaching at the Margaret Trowell School of Fine Art. Subsequently, she moved with her family to Kenya where she continued to teach at Kenyatta University's Department of Fine Art.
But Geraldine's passion for painting compelled her to make the choice to focus solely on her art. For several years she's worked full-time painting with a preference for oils and a passion for brilliant sun-kissed equatorial colors.
Her paintings and prints range from naturalism and impressionism to semi-abstract and abstract expressionist works. What's more, they come in all sizes, from miniature to monumental such that they can be easily sent by post to loved one overseas or upcountry.
But one might be more inclined to buy a holiday present for one's self since it's rare that one will see Geraldine's art be available for rock-bottom prices.
She'll also show more pricey pieces, especially works that have taken her hours and days to complete. But it's worth a trip to Karen just to see what artworks you might afford to take away and enjoy.
If you think you'll find a moment to make it out to Geraldine's and Mike's place, they request that you give them a call at 0722528931 or send them an email at Fairhead.michael@gmail.com.
Guaranty Trust Bank has only been in Kenya for the last four years. And Ibukun Obegaike has only been Managing Director of GTB in Kenya for the past two and a half years.
But that didn't stop the Nigeria-born MD from putting into practice one of her bank's top Corporate Social Responsibility (CSR) policies which is promotion of African arts both locally and internationally.
"From the very beginning, our bank has been supportive of the arts," said Ms Odegbaike in an exclusive interview with BD. She recalls that when GTB's head office in Lagos was initially opened in 1991, one of its attractions was the huge painting by a leading Nigerian artist that dazzled the clients as they walked in the front door.
Art, she says, is one of those intangible items that contributes to a more people-friendly atmosphere in the bank. It also promotes greater awareness of the visual arts.
To illustrate how much her bank appreciates African art, not only in Nigeria but also in Kenya, GTB (Kenya) Ltd. sponsored an evening exhibition of contemporary East African art at the Villa Rosa Kempinski Hotel yesterday.
Curated by William Ndwega's Little Art Gallery, there were twelve artists whose works were on display last night.
They included Michael Soi, Patrick Kinuthia, Peter Elungat, Anne Mwiti, Michael Musyoka, Yassir Ali, Emily Odongo, Haji Chilonga, Joshua Mainga, Douglas Musyoke, Coster Ojwang and Jjuuko Hoods.
The exhibition was only for one night, but Ms. Odegbaike says the Kempinski show is simply the first step in GTB's support of the arts in Kenya.
"Remember that a journey of a thousand miles begins with the first step," she said, implying there were more steps the bank intended to take with local artists.
The second step is likely to be the introduction of Kenyan artists to GTB's online African art platform.
The 'Art 635' virtual gallery was only launched in October 2017. But already it's enabling mainly Nigerian artists to access online audiences and markets.
"We have another online market hub which will enable artists to sell their work more easily," she added.
What's remarkable about the Nigerian-born bank is that it not only has a solid commitment to creating a service-oriented culture in its banking system. It also sees the arts as playing an integral role in advancing that service-orientation.
What's equally encouraging is that Art 635 invites all African artists to join the online gallery. So that "first step" taken last night could very well lead to greater regional cooperation and appreciation of East African art.
Friends, I apologize but I just realized I can still access an earlier blog that I create in 2011. I abandoned Margaretta's Jua Kali Diary last year because I didn't have the techno skill to figure out how to access it. Now I've got it so I will be trying to share on both blogs until I can resolve my 'Identity Crisis' and decide if I should go back to being Jua Kali (which I am in any case) or stick with this more impersonal title. Thanks for your patience. I love the fact that somehow I started Jua Kali Diary just shortly before I came back to Kenya from the US where I was completing my Ph.D. So there's quite a bit more writing by me there.
Every Nairobian who has made their way to the CBD (Central Business District) has seen monumental sculptures standing outside in public spaces.
If they have come to town, they have surely seen the giant figure created by the Kenyan sculptor Oshoto Ondula of Tom Mboya standing tall just next to the National Archives. And if they walk half a block from Tom Mboya's site to the start of Kimathi Street, they will find the larger-than-life sculpture of Dedan Kimathi, created by Kevin Oduor who collaborated with Kenyatta University.
Probably the most renowned outdoor sculpture in Nairobi stands right next to Kenyatta International Conference Centre. It's the one of the country's first president, Jomo Kenyatta, dressed in full stately regalia.
But outdoor sculptures need not be only of national leaders or even public figures like the paleontologist Louis Leakey whose sculpture, created by the late Charles Bwiri, is seated outside the Louis Leakey Auditorium at the Nairobi National Museum.
The Museum itself is proof of that point. There's amazing public art at the main entrance of the Museum. One stone sculpture, called 'Mother and Child', is by the Ugandan artist Frances Nnaggenda while a humble 'Working Man' is a short distance away created by Jackson Wanjau.
And leave alone the gigantic Dinosaur and life-size elephant called Ahmed that all school children who visit the museum know very well. They also know about the tall glass and metal sculpture that's been erected just behind the Nnaggenda, although they probably don't know it was created by the glass artist Tonney Mugo.
Outdoor sculptures have increasingly become popular in both public and private gardens. Two that were specifically commissioned for the Garden City Mall are by Maggie Otieno and Peterson Kamwathi. And three that stand tall and proud on the grounds of George Waititu's Tafaria Castle are all by Joseph Bertiers Mbathia.
But one need not own a shopping mall or even a castle to appreciate the way an outdoor sculpture can beautify someone's garden. Just ask the American-born scholar Dr. Dana Seidenberg about the pleasure she finds in both owning Kenyan art, including sculptures that she's placed all around her garden, and supporting local artists in the process.
Her two Kenyan sculptors whose works she owns the most of are Irene Wanjiru and Elijah Ogira.
"I have pieces by other Kenyan artists but I'm particularly fond of Irene's and Ogira's art," says Dana. Both artists work mainly in wood, but interestingly enough Dana has placed more of Irene's sculptures out in her garden while Ogira's more functional sculptures are to be found at the front entrance of Dana's home.
According to the former Principal of the Buru Buru Institute of Fine Art, Boniface Kimani, most of the sculptures that he creates are commissioned by private individuals who know the quality of his art.
"Some of the commissions are for sculptures that remain inside people's homes. But quite a few are meant to stand outside the house, either at the front entrance, outside the front door or out in the garden," says Boniface who resigned from BIFA sometime back in order to do his art full-time.
Another sculptor who spent a lot of time creating sculptures for people's private gardens and front gates is the late Expedito Mwebe. His son Michael Angelo worked closely with his father and so, he can point out practically every house in town that's got an example of his and his father's outdoor art.
One man who says he loves the sculpture he created at the front entrance of his home is Edward Njenga. The ninety-five year old sculptor says the giant bust of a beautiful young girl which is situated just outside the front gate is an excellent marker to help visitors easily find their way to his house.
The other artist who's created outdoor sculptures to show visitors the way to her home and business is Nani Croze of Kitengela Glass Research and Training Trust. In fact, all around the grounds of Nani's place one can see outdoor sculptures (made both by her, members of her staff and visiting artists) that will make one wish that they too could have outdoor sculptures in their backyard.
1. Mentoring: people always talk about the need to mentor, to share/pass on information. I've been doing this work a long time and feel there needs to be more.
2. Writing is IMPORTANT: writing for media is WRITING THE FIRST DRAFT OF HISTORY.
3. PUBLIC RECORD: If Kenyan artists not written about, there won't be public record about them. As if they don't exist. Future researchers on Kenyan art won't know about artists like Etale Sukuro, Eric Ndovu, John Diang'a or even Charles sekano.
d. Yes, read art books, read online info but don't take online as gospel. Eg.
e. One online guide said all you need is to i. Describe what you see, ii. Analyze parts (form,color,line,texture,tone,shape,pattern, light/dark, bright/dull, composition), iii. Interpret: figure out meaning (how?), iv. Judgement (what? Who's perspective? How do you judge?
7. But several key points the art books don't necessarily cover: like the 5 W's+1H: who,what,where,when,why and how?
8. Also, when writing, who is your AUDIENCE? Academic, popular, just artists, local, global? etc.
9. CRITIQUE: Now it's time for you to critique some works.
Italian Institute of Culture's director Francesca Chiesa will be leaving Kenya at the year's end. But as her parting gift to the country, she just organized a Kenyan writers' workshop on the Historical Novel.
Aiming to encourage young Kenyans not just to write their own historical novels but also to learn more about Kenyan history itself, Dr Chiesa opened the four-day workshop last Monday at the Stanley Hotel by underscoring the importance of writers, especially those who can tell captivating stories against the backdrop of their country's history.
"The function of the writer is to preserve a people's memory," she said.
To make her perspective practical, she'd invited three Italian intellectuals to share ideas about their experience with the historical novel and history generally.
Carlo A. Martigli had been a banker before becoming a best-selling historical novelist whose book '999, the last Guardian' sold more than a million copies and was translated into several languages. His role in the workshop was to offer clear simple tips on how to structure one's historical novel and create compelling characters within the context of a major historical moment.
Matteo Ogliari is an historian who shared his experience using Kenya's National Archives and MacMillan Library to research his doctoral dissertation and showed the Kenyans how useful archives and libraries can be in constructing their own historical novels.
Finally, Giacomo Brunoro, with former classmates from University of Padua, organized a whole cultural festival around the historical novel. Their 'Chronicae Festival Internationale del Romanzo Storico' is actually the second cultural festival that Giacomo cofounded with friends. The first was the Sugar Pulp Festival.
In both cases, their ambition has been to promote their home region in and around Padua as well as to create vibrant multi-faceted and multi-media festivals that amplify various aspects of literature and culture. Sugar Pulp's focus is contemporary pop culture while Chronicae's is historical fiction.
Sugar Pulp itself is the name of Giacomo's brand, with the 'sugar' deriving from the beetroot that's plentiful in their semi-rural region and the 'pulp' alluding to popular culture, such as the film 'pulp fiction'.
Launched humbly in 2011 once he'd returned to Padua after years working in broadcast, print and online media in Milan, Giacomo's vision for the Sugar Pulp Festival is for it to one day become as big, multicultural and global as the Edinburgh Festival in Scotland.
He's got a similar dream for the Chronicae Festival even though it's more specialized than Sugar Pulp's which covers all facets of pop culture. During its festival, Super Pulp explores everything from comic books, paperback books, audiobooks and ebooks to video games, films TV, live performance and virtual reality.
Sugar Pulp only launched its Historical Novel 'Chronicae' Festival in 2014. But it's already drawn internationally-acclaimed novelists from around Italy, elsewhere in Europe and the States to take part in the festival. They are all writers who believe, like Francesca, that knowing one's history is of vital importance but the most enjoyable way to imbibe that history is through the fictional form.
One reason Giacomo agreed with his friends to establish Chronicae was because Italians have a large appetite for cultural festivals. "But we saw there was a gap to be filled among the literary festivals. There was none before ours that focused solely on the historical novel," he said.
Another reason Sugar Pulp was bound to create a Chronicae platform was because one of its co-founders, Matteo Strukul is himself a writer of historical novels. His trilogy on the Medici family of Florence is award-winning and is already being translated into English, Spanish, and German.
Both Sugar Pulp and Chronicae have vibrant online presences. And while their presence on social media is virtually all in Italian, the example that Giacomo sets for promoting culture and the historical novel is inspirational. So is his passion specifically for Italian culture.
As her last parting project to Kenyans, Francesca created a literary competition during the workshop. The participants were given the challenge of writing an historical novelette which will be judged by her and her three Italian guests.
"The winner will received a round-trip ticket, including accommodations, to Italy where he or she will be guest of honor in April 2018 during the next Chronicae Festival," she said.
At the time of our going to press, the winner had not yet been named. But clearly, Francesca leaves Kenya having made a powerful mark on the minds of a score of young Kenyan writers, which is no small feat.
Aperture Africa productions has been consistent since I first saw their grand performance of The Jungle Book, the musical just a year ago.
Amar Desai, his wife Jinita and his whole team do everything in high style. From the colorful costuming, choreography and elaborate set design to the special effects, live music and magical moments when one can see children enthralled by the lively events happening on and off stage, Amar as director made the whole show blend together beautifully. That was true for The Jungle Book, the musical just as it was last weekend when Robin Hood charmed the children from start to end.
One must take special note of the large numbers involved in such a show as Robin Hood. Amar doesn't seem to do anything in a minimalist fashion. His orchestra headed by Andrew Tumbo was substantial and well-rehearsed. My only disappointment is their being tucked away up in the balcony so we the audience had no chance to actually watch them perform. I personally love live performances but logistically, their upstairs station was understandable. For as vast as is the Chandaria stage at Oshwal Centre is, it was just the right size to fit in Sherwood Forest as well as a village market, a cosy dungeon and even a 'throne' double-decked above the dungeon where the Sheriff (Bilal Wanjau) had a chance to watch the village below as well as to woo Lady Marion (Maya Spybey) who was utterly disinterested in the advances of this naughty cop.
Only the Sheriff's team of soldiers were few and certainly no match for the renegades working closely with Robin Hood (Tirath Padam). Otherwise, the cast of Aperture's musical was huge, including an incredible crew of talented children whose performance clearly inspired countless youth who got actively involved in the production, both by climbing out of their seats to collect the candy tossed to them from the stage and by getting right up on the stage once they saw a signal at the show's end when they were apparently invited to join their peers and dance along with the whole cast.
Robin Hood was ultimately a joyous affair, despite there having been several dark moments, as when Robin and his fellow outlaws went into battle with the Sheriff's troops. Such times seemed just a touch too violent for my taste. So was the time when Much (Chandhi Vaya) was being tortured. And so were the scenes when the Sheriff's men roughed up the locals. It was just a wee bit too scary for me.
But on the other hand, my favorite character in the whole of Robin Hood was the Sheriff, Mr Nasty himself. Bilal Wanjau was delightfully wicked and an unbelievably bad bully to all except for Marion, of course. But even she fell fowl of the Sheriff once she refused his marriage proposal. Her heart was already bound to Robin's.
The one scene that was beautiful but a little overdone was the love scene when Robin and Marion were 'alone' and yet surrounded by dancing white-winged angels. As I sai, their dance was beautiful to watch but it defused the passion of the lovers' moment. Then again, perhaps that was the point, given the musical was meant mainly for children who don't have to get acquainted with the way lovers have moments alone.
In any case, the choreography of Robin Hood was impressive except that I wished the fight scenes looked a little less brutal. Otherwise, Aperture Africa deserve all the support they receive from the local business community for its musical extravaganzas that never fail to entertain. I applaud the Desai's for their professionalism and theatrical excellence.
This weekend and the next few, there will be no shortage of theatrical entertainment on show in Nairobi.
This past weekend will be a bit difficult to top since there were powerful performances throughout that time. They came from both Aperture Africa Productions staging 'Robin Hood the Musical' and from the Kenya International Theatre Festival where Kenyatta University students performed Francis Imbuga's The Successor, Reagon Ochoo's The Mirage and Ola Rotimi's Our Husband has gone mad again. Meanwhile, troupes from Uganda and South Africa gave spine-tingling performances as well.
Nonetheless, the Nairobi Performing Arts Studio hasn't let us down once since it came into being nearly two years back when the British director-actor Stuart Nash got together with Dr. Edwin Gichangi and decided to start up a theatre school at Kenya Cultural Centre.
'Grease' will run through this Sunday night with matinees both weekend days. It will be back again December 8th through 10th after the word gets around that it's a show you won't want to miss!
Speaking of Ian Mbugua, he's been working closely with Susan Bantu at Brookhouse School where he teaches Drama and she's directing Tennessee Williams' hard-core modern classic, 'The Glass Menagerie'. The show opened Wednesday night at the school. It will run through Saturday night so you had best get tickets right away.
This is another case of the word getting round after 'What Happens' was staged just once last month. So the director-producer and scriptwriter Martin had to comply with popular demand and bring the show back next Saturday, December 2nd at 5pm.
The other important performance that should not be missed is by the doyenne of storytelling, Maimouna Jallow. She'll perform in the finale of 'Re-imagining Storytelling' on Thursday night, November 30th from 8pm at The Alchemist in Wetlands.
Finally, Heartstrings opens December 6th in 'Nobody is Leaving' at Alliance Francaise.
PS. Pantomime this weekend at Braeburn School by Braeburn Players.
pps. Nutcracker the ballet coming next week too.
The jazz duo from Austria, b.good vogel, will be performing Tuesday night from 6pm at the Michael Joseph Centre in Westlands.
Identifying themselves as an electro/acoustic duo, both Marc Vogel and Barry Good (aka Lukas Schiener) are highly trained musicians. They'll specialize in their Nairobi debut in modern jazz and funky groove music. But those labels can't embrace what they'll do with one drum set, one saxophone, a synthesizer and master keyboard.
b. good vogel are also poets and singers as well as instrumentalists. So one can expect a fascinating form of groovy jazz as it will be mixed with slam poetry, original compositions and a style of music that should be brand new to Nairobi.
They've explained in advance that their performance will begin with simple acoustic (non-electronic) sounds coming from Vogel's drums and Good's jazz sax. But once they get on the synthesizer and master keyboardd, their music will grow and build up into what's bound to sound like a large orchestral ensemble.
It's sad that the two will only give one scheduled performance next Tuesday. But as they are guests of the Austrian Embassy, they may be persuaded to perform in other arenas before they head back home to Vienna. Come to Michael Joseph Centre at the Safaricom Building Tuesday to find out more.
Now that the Supreme Court has confirmed the election of the Uhuru-Ruto ticket and the country is experiencing a state of calm for the first time in many months, there are a few things that have to change about the way the incumbents run this country. Or at least how the two Big Men operate.
First among them must be their curb on frivolous spending. In the Business Daily of November 22, we read front page news that 'Uhuru, Ruto top State Sh5.7bn leisure spenders.' This report is shameful, especially when poverty rocks the land and the bulk of the Opposition consists of jobless men and women who'd probably not be on the street burning tires and playing hide and seek with police if they had employment to keep them occupied and salaried. An empty stomach is an intense incentive to demand a major change in the political scene.
Those hungry mouths are filled with even more ire and outrage when they see how the newly-elected are living leisurely and luxurious lifestyles while they scramble to satisfy basic needs for food, clothing, shelter and even basic sanitation such as running water and public (not flying) toilets.
One must ask whether either the President or his Deputy ever spend time with people in the slums, other than when they do drive-throughs during pre-election days. This I doubt. But this is one reason why the Opposition has such a huge following among slum-dwellers. They know the impoverished are disgruntled and prepared to demand 'Change at all costs!' Savvy politicians like James Orengo know that, as the Nobel-prize winning poet-lyricist Bob Dylan used to sing, "When you ain't got nothin', you got nothin' to lose." And so our hungry and angry slum-dwellers are ripe for revolutionary action. They are easily mobilized as the Opposition has so effectively proved in these past few months when the Big Men have largely been silent and less than eloquent in defense of their positions.
What's worse, when we read that President Uhuru and his Deputy have recently received salary hikes, and then also find they use tax-payer-fueled funds to entertain themselves and their friends more extensively than even our profligate Congressmen who get some of the fattest salaries (compared to other MPs and Senators) in the world, we have to ask, have we really elected individuals who put the interests of their people first?
This is all we want to see in Kenya, Africa and everywhere in the world. We are crying to see authentic statesmen and women who run for office wanting to put the basic concerns of their people first. After that, they may have visions of how to be leading peacemakers out to reconcile feuding clans and countries. They might even want to wean their people off of fossil fuels and steer them towards using renewable, environmentally-friendly energy-sources.
But politicians do not have time to be planning to fulfill such people-friendly priorities if they are busy spending other people's hard-earned taxes on frivolous events such as cocktail parties and nyama-choma dinners (requiring the slaughter of countless cows, goats and sheep all of whose waste sends out heaps of methane gas to pollute the air).
All the helicopter and private jet travel are also meaningless if they save time for the elites while leaving the rest of us looking on from our hovels and homeless shelters.
Yet we'd still love to applaud you as leaders we can look up to. You make that difficult, however.
Thus, it should be obvious to the newly re-seated politicians that the uproar and unrest that Kenyans have experienced in the last few months requires that they self-reflect and change their ways to become better representatives of all the Kenyan people, not just in theory, not just in bombastic or rhetorical terms, but in deeds that we can see and appreciate for their doing the right thing and putting the people's needs first.
I just got back from Venice Biennale where this wall by Ian Danford called 'Colourfall' struck my eye.
This is just a reminder that this Saturday, November 25, from 11am we'll be sharing ideas about how to write critically and creatively about contemporary kenyan art. i'll be at Brush tu Art Studio in Buru Buru phase 1. Easy to get to on matatu no. 32 or 36. it's free and if there's interest maybe we can keep the conversation going.
ART TALK, SATURDAY NOV25, 11AM @ BRUSH TU ART.
Note there are no water-taxis on the Grand Canal. That's cuz transit workers were on strike that day!
Venice Biennale! It had been my dream to see it this year now that Kenyan artists had finally gotten there. Not that the artists had much help reaching the Biennale from the Kenya government, despite promises made. In fact, the crew of curator Jimmy Ogonga and his selected artists had to find their own means to reach Venice and even to find an exhibition venue at Scuola Palladio on Giudecca island.
Having family in Vicenza, the beautiful city founded by the Italian architect Andrea Palladio in the mid-1500s, I was fortunate to fly into Venice (via Doha) with assurance I'd have a place to stay. We only had the weekend as the family either worked or went to school on weekdays.
Vicenza is just a half-hour train ride away from Venice, so I got a lift early Friday morning to the train. Then I planned to take the water-taxi to the two major centres where Biennale artists and Pavillions were showcasing artistic works.
Ansenale and Giardini both had stops on the Grand Canal. But to my dismay, the public transit workers chose that Friday to go on strike! I managed to find one rogue water-taxi but it only stopped at the Rialto station. After that I had to walk.
There couldn't be a more exquisite city than Venice to walk through. Not only are there lovely shops filling every walk-way featuring everything from jewelry, glass, high fashion, and gelato ice cream to cathedrals, cappuccinos and countless town squares.
What's amazing about walking through Venice is that it's absolutely pedestrian-friendly. Leave alone the fact of no cars anywhere. There isn't one bicycle, motorcycle and even roller skate anywhere on the walks. Only bridges. Countless bridges were to be traversed in order to reach the official Biennale sites, the recommended starting point being Giardini.
Fortunately, there were several outdoor sculpture exhibitions in the lush green parks along the Canal which were worth stopping to see. But my time was running out and I wanted to stop by both Giardini and Arsenale.
Family had helped me book my all-day entry passes. So when I finally reached Giardini, I didn't stand in line. Still the challenge was, where to begin? On the right were the national pavilions, but I chose to go left towards the major contemporary art assembly hall entitled La Biennale. Curated by Christine Macel, her Biennale mission statement was open-ended as she wanted the artists to do as they wished without her dictates. Was that a mistake? Of course, it was democratic. But sadly, I wasn't impressed.
I confess I must be biased, but I prefer contemporary Kenyan art to the Western concept of 'contemporary art' or what I saw of 'Vive Arte Viva'.
For instance, one artist burned a bunch of books, then glued them unto a canvas and called it art. Another created an installation called 'Artist Asleep' in which you literally saw someone sleeping under a ragged blanket in a brass bed. My favorite was the artist who (like Kenya's own Rosemary Karuga who had no funds to buy art materials but created anyway) only had nylon stockings which she filled with sand and then shaped into fascinating sculptures.
It was only when I left that giant hall and found the Russian, Danish, Finnish, Venezuelan, Spanish and American pavilions that my enthusiasm for the Biennale was restored. Granted these spaces must have been pricey, but they were filled with fascinating works. I could've spent hours in each of them, but there was no time. Venice gets dark from 5pm.
But as I left Giardini, I encountered Mark Bradford's outdoor color spectrum that was a dazzling way to depart the Biennale. I had to walk miles to get the train so I'd have to see both the Kenyans' and the Arsenele showcases in two years' time.
Fortunately, I found another rogue water-taxi that took me back towards the train station. But being 'rogue' it didn't drop me where I wanted, so I had to find a so-called 'people-mover' metro train to take me to the Vicenza train station.
Remember the strike! Well, by the time I got to the station, there were no trains to Vicenza. Fortunately, I found one English-speaking Italian student who got me on the train to Verona.
"The Vicenza stop comes just before Verona, so come with me," he said as we both ran with the crowd, scrambling to find a seat on the last train to Vicenza.
PS. Venice Biennale 2017 closes this Sunday, November 26.
This year's Kenya Art Fair at Sarit Centre was a relatively Spartan affair. It felt like there were fewer booths than in years past. In large part this was due to the inflated costs of booking a display booth this year. According to some participants, the fees shot up nearly three times the price of the year before. That cost alone scared away many artists who had hoped to take part in the art fair this year.
The price hike was attributed to Sarit Centre's overhead issues. But the fact that there were fewer artist talks and panels this year was surprising given the thriving nature of Nairobi's local art scene. One imagines there could have been many more than four artists to speak on timely topics. But three sessions of art talks is all we got this year. This is in contrast to years past when during the four-day festival, there could have been at least three sessions every day (apart from opening nght). And occasionally three in a morning and two or three in the afternoon.
No doubt, audiences (which largely consisted of up-and-coming younger artists) appreciated hearing from Mukuru-based artist Shabu Mwangi on Friday. For in addition to his having an illustrious career as a painter, he is also the founder the Wajukii Art Project which has mentored many young Kenyan artists from the so-called 'informal settlements'.
The 'Q and A' session on Saturday between the Kenyatta University lecturer and practicing painter Anne Mwiti, Kuona-based artist and co-founder of Brush tu Art David Thuku and Dan Handa, one of the Fair organizers, was also well received.
And on Sunday, young artists were especially keen to hear from Circle Art Gallery co-founder and curator Danda Jacoljmek who offered practical tips and insights into moving forward in the local art industry.
But in years past, the weekend fair usually had at least one or more panel discussions that served to stimulate lively discussions. There were no such panels this year.
However, among themselves artists, who came to the Fair either to display their works or to check out what was on show, had lively discussions. This must have been one of the best things about the Art Fair, that younger artists got a chance to meet and chat with some of the older, more seasoned artists who had decided it was worth investing far more than they had budgeted for to be in the 2017 Art Fair.
For instance, this year three giant sculptures by Joseph Bertiers Mbatia took centre stage at the fair. So when he finally arrived on Sunday afternoon he had a slew of visitors to his booth and to his larger-than-life sculptures wanting to discuss his marvelous artworks.
Another well-seasoned artist who booked a booth of his own and attracted the attention of many young Kenyans was the painter and jewelry artist Njee Muturi. A man who must be the first Kenyan to create exquisite bracelets, necklaces, rings and earrings out of silver spoons and forks, Njee makes jewelry that are truly works of art.
There were approximately ten solo exhibitions at the fair this year. They included artworks by Michael Soi, Patrick Kinuthia, John Ndungu, Pascal Chuma Elaine Kehew, Eddy Ochieng, Patrick Ng'ang'a and Melusine Towler.
But what was equally if not even more exciting about this year's Fair was seeing so many new faces and even a number of new groups showcasing their art for the first time.
The one I frankly was most excited about was Ziwa Zambarau, a quartet of young Kenyan women artists who have formed one of the first women visual artists' collectives (HAWA spearheaded by Lydia Galava was the first). The group includes Virginia Wakianda, Moira Bush Kimani, Naitiemu Nyantom and Evilidah Wasai.
There were at least twelve booths devoted to group displays. Among the groups were Dust Depo, Brush tu Art, Bobea Art Centre, The GoDown, Little Art Gallery, The Mix from Kakuma Refugee Camp, Cross Stitch, BIEA, Kenyatta University, Silver, Kimani and Endo, Njogu and Sonko, and of course, Kuona Trust who launched the first Kenya Art Fair and organized it ever since.
One of the most popular venues at the fair, apart from the Wasanii Exhibition, was Caricatures, the booth where artists Paul Njihia, Nadia Wamunyu and James Njoroge created affordable and fun portraits of visitors right on the spot.
Finally, the art fair catalogue was especially well done this year with the cover painting by Hussein Halfawi and the design by Jess Atieno.
It's been said that Media write the first draft of history. That's because they are the eye-witnesses to an event. They are the data collectors, the documentarists who future generations of scholars and students of history (and in this case theatre) must refer to when seeking to understand what really happened back then.
For this reason, I wish to make use of this platform that the Kenya International Theatre Festival and the Kenya National Commission of UNESCO have given me to implore both theatre academics and theatre practitioners to make better use of the media to bear witness to what they do.
I make this request because so often, especially within academia there are theatrical events that take place but are not covered by the press. They may have utility as teaching tools for students, but they also could serve to inspire a wider public and make a wider audience aware of the valuable theatrical events underway in spaces like Kenyatta, Moi, Maseno and other universities in Kenya.
I make this request for another reason. This relates to something discussed on the first day of the Conference by a KU doctoral candidate, Gabriel Thuku. He spoke at length about the value of research for theatre arts academics. I also value research but if there has been no documentation of past theatrical events, then the research on Kenyan theatre will be superficial at best. The research will simply use scholarly papers by researchers who went over the same fields without having detailed information about all that went on during specific periods in Kenya's professional and amateur theatre.
Dr. Mshai Mwangola-Githonga spoke on the first day of the Conference about one technique used in the social sciences to explore specific topics. It is called 'auto-ethnography' and is a qualitative research method that utilizes information garnered from the researcher herself. I wish to employ this method in the next section of my paper as I have been fortunate enough to have been an eye-witness to several decades of Kenyan theatre, both within academia as an undergraduate and graduate student of literature at the University of Nairobi and as a theatre critic writing for Kenyan media. I was also an actor performing with UON's Free Traveling Theatre under the direction of the Ugandan playwright, director and UON lecturer John Ruganda. I also acted in Ngugi wa Thiong'o and Micere Mugo's 1976 debut performance of 'The Trial of Dedan Kimathi' which was staged first at the Kenya National Theatre and later at FESTAC, the Second World Festival of African Arts and Culture in Lagos, Nigeria.
As a student, I had the good fortune to witness and be part of what I consider to be the Golden Age of Kenyan Theatre. This was when Pan African thespians were living and working in Nairobi, artists like Okot p'Bitek, David Rubidiri, Joe De Graff, Francis Imbuga, Ngugi wa Thiong'o, John Ruganda, Micere Mugo, Janet Young and Mumbi wa Maina.
A number of them were my lecturers; the rest were my mentors who I greatly admired for their dedication to theatre practice and scholarship as well.
What I witnessed and later wrote about as a journalist assigned by my editor, Hilary Ng'weno enables me to speak and write now as someone who pursued both the academicians and the theatre practitioners for stories about what they were doing artistically.
I won't go into great detail at this time, but I realize there is a tremendous need for today's theatre arts students to have a far better grasp of Kenyan theatre history than what is available for them to see and study right now. So I will make a quick run through the decades in order to offer a brief survey of that history, starting in the 60s, the decade of Kenyan independence.
The late Sixties is when Ngugi wa Thiong'o spearheaded a cultural revolution at the University of Nairobi, insisting the English Department with its Euro-centric focus be replaced with an Afro-centric focus and renamed the Literature Department.
The core course in the new Literature Departure would be oral literature which later became known as orature. Students were encouraged to go home to interview and collect data in the form of stories and indigenous folktales from their elders. These stories, which had been either ignored or discredited for being unwritten and told in local indigenous languages, were to be seen in a new light. Students would be involved in developing this new field of literature that not only respected indigenous languages but also local people's culture and oral art forms.
The rest of the curriculum would include Kenyan, West and South African literatures as well as Caribbean, African American, Latin American and also European and American literature.
I was a student at UON starting in the mid-1970s, while this revolutionary sense of culture was alive and thriving. I then was asked by John Ruganda, founder of the UON's Free Traveling Theatre to rehearse and perform with Kenyan student thespians as we traveled all around the country. This was an immense learning experience.
So was my participation in FESTAC productions with Ngugi and Micere. I was also witness to Ngugi's creating the Kamiriithu People's theatre that performed in Kikuyu and staged by local peasants and workers who Ngugi directed, working with a script the peasants helped him to shape although he and Ngugi wa Mirie were the official playwrights. That play 'I'll Marry when I want to" had a very powerful political message and one that the Kenyan President Daniel arap Moi didn't like since it compelled peasants to appreciate the class conditions of the society and the feasibility of an underclass rising to resist the oppressive conditions they were enduring in the current social system.
Ngugi was detained and thespians felt the chill of Moi's heavy-handed style of censorship. So journalists, thespians and academics either chose to flee the country after that or practice a style of self-censorship that would enable them to survive despite the political scrutiny and surveillance.
All the while this was happening amidst African theatre circles, European amateur and professional theatre was thriving among groups like Nairobi City Players, Lavington Players, the Little Theatre Players of Mombasa, Nakuru Players and others.
One African theatre company that picked up the spirit of indigenizing Kenyan theatre was the Tamaduni Players. Founded by two African women, Janet Young from the Gambia and Mumbi wa Maina from the US, both were professionally trained actors; Mumbi was also teaching at Kenyatta University.
What made Tamaduni special was its effort to bridge the gap between academia and grassroot theatre practice by having its cast members (mostly young theatre students) to go to the streets and collect stories of street children. They then wove those stories together into a play called 'Portraits of Survival' which was exceedingly powerful and unprecedented. But Janet left the country with her family soon after that, and Mumbi chose to keep a low profile as a university lecturer after Janet left, especially as her husband, an historian, had been arrested as a political agitator.
In the 80s a lot of theatre performances went on at Kenyatta University, but I didn't hear much about them as my focus was more on cultural festivals and performances based in and around the Nairobi city centre where many foreign cultural centres were supporting theatre practitioners. In that regard, there were plays performed in English but supported by the Italians, French, German and Americans. This enabled actors to perform their political sentiments while using the metaphors of foreign cultures.
There were also plays staged at UON directed by John Ruganda and the leading theatre group made up of former university students was The Theatre Workshop. Mshai Mwangola and Mueni Lundi were both there as were Oby Obyerodhiambo, Aghan Odero, Johnny Nderitu, Catherine Kariuki and many others.
The Mbalemwezi Players was another set of theatre practitioners who performed on a semi-professional basis and even had annual awards ceremonies which recognized the role of the media, for which I was quite grateful. This was because several of the members had business and marketing backgrounds and understood the role that media played in publicizing their work and attracting audiences.
From the 50s, the European settlers established the Kenya Schools Drama Festival but it was exclusively for European youth. It wasn't until 1979 that the first Kenyan, Dr Wasambo Were became Inspector of Education in the Ministry of Education and the man overseeing the Africanization of the Drama Festival. This was a wonderful transformation to watch as the students and their teachers served as scriptwriters as well as cast members. The commitment to theatre was and continues to be nurtured through that vehicle. But there was no theatre arts departments in any Kenyan universities as yet so there wasn't a big issue of bridging the gap between academics and practitioners.
The donor community got quite involved with funding various theatre groups to create performances at community or grassroots levels to educate the public about such burning social issues as HIV-AIDS, Family Planning and FMG. Many theatre practitioners got involved with such ventures in the name of Theatre for Development and Theatre for Education.
One of the leading groups that started up at this time was called Muijiza Players. Started by James Falkland who ran the Phoenix Players (which never lost the stigma of being an expatriate theatre), Muijiza was led by Caroline Odongo. The players became an avenue for Kenyan playwrights to be born and others to get going as directors, actors etc. Muijiza didn't survive beyond the 90s but it propelled a number of practitioners into full-time careers in the theatre. A number of smaller theatre groups grew up in this period such as Fanaka Players, Friends Theatre, Festival of Creative Arts and Heartstrings Kenya.
I was out of the country for most of the first decade of 2000-2009 but it was during this period that the first Theatre Arts Department was established at Kenyatta University. Several years later, more Theatre Arts departments were established at Moi and Maseno Universities. These departments have apparently had very little contact with theatre practitioners like Heartstrings and FCA.
But this conference is highlighting the need for greater collaboration between the academics and the theatre practitioners. I know I am missing a number of theatre groups and productions such as the revival of Nairobi City Players (formerly all European) by Kenyans. Strathmore University is another private institution that has taken theatre very seriously. And a group like The Performance Collective is promoting storytelling which is carrying on from the Sigana Storytellers, a group started in the 2000s.
The point I wish to make in conclusion is that a great deal has been conducted since Kenyan Independence. There is so much I almost forgot two important Theatre Institutions which were established, one in the 1970s at Kenya National Theatre, the other in the 1980s at the French Cultural Centre. Both were unaffiliated with academic institutions but both played important pedagogical roles when there were no theatre training centres in Kenya at the time: the first was the Nairobi Drama School led by Tirus Gathwe; the other was the Nairobi Theatre Academy. Neither one has been covered well by the media but they can serve as important sites for research into the history of Kenyan theatre. Also, a number of Kenyans performed in European stage productions and a few, like John Sibi-Okumu have carried on their love for theatre. But many more have gotten caught up in other life styles and careers.
So I hope that both theatre academicians and practitioners will be more aggressive in making contacts with the media and getting themselves into publications as well as on the radio and television to let the wider public gain knowledge of the vitality of Kenyan theatre and also encourage them to come out and attend productions.
As impressive as is the rich array of musical theatre shows over the next fortnight, the straight plays are also productions not to be missed.
The first set of weekend performances begin last night at Alliance Francaise and run almost non-stop all the way through the weekend. That's because they'll be part of the Kenya International Theatre Festival.
KITF is a festival that feels like it's premiering this year even though it was launched a year ago by Kevin Kimani; only he ran the festival on a shoestring in 2016, out of love for the theatre and a desire to see Kenyan theatre grow beyond national borders.
This year Kimani's aspirations have materialized more substantially although he is still short of funds. He's gratefully gotten support from UNESCO which has enabled him to have three pan-African troupes come to Kenya to perform.
The Ugandan dance group Black Lace performed last night for the Festival's official opening. They will dance again on Sunday at the closing. The South African will stage Devil's Disciple both Saturday afternoon and Sunday night, also at the Festival closing.
Meanwhile, the Zimbabwean troupe was apparently waylaid by the political disruption in Harare. But if they arrive in time, they will perform as scheduled.
Tonight at 6pm, Kenyatta University will stage Francis Imbuga's modern classic, The Successor. Then on Saturday, KU will also stage Our Husband has gone Mad Again by Nigerian playwright Ola Rotimi followed by an original play by KCA University.
Finally on Sunday, The Mirage will open the afternoon plays at 1pm followed by 'The Goat or Who is Sylvia?' and the closing shows will be given by the Ugandans and the South Africans.
The following weekend, Ian Mbugua (who will be fresh from performing in Aperture Africa's Robin Hood the Musical) presents his theatre students from Brookhouse School in the Tennessee Williams modern classic, The Glass Menagerie. Directed by Susan Bantu, the show runs from November 22nd through Saturday November 25th.
Finally, by popular demand, Prevail Arts Production is bringing back Martin Kigondu's original play, What Happens in the Night on December 2nd at Daystar University. The auditorium at Daystar is easy to find and the show is not confined to students only. The show stars Chi Chi Seii, Nick Ndeda, Shivishe Shivisi, Mourad Sadat and Salim Gitao, directed by Martin Kigondu.


text:
Two Point Campus Release Date
By Laiba Ejaz
After waiting for a long time for the release of Two Point Campus, we are excited to tell you that it is out now. The countdown is over, and the game is now available on multiple platforms for you to get your hands on. Two Point Campus belongs to the Two Point series. Two Point Hospital was previously released and was a hit, but it lacked a few details, which the fans did not like very much. The makers decided to add new and more exciting details.
Two Point Studios have developed the Two Point Campus. Moreover, Sega, SEGA of America, has published the game. It is a Simulation Video Game, Indie game, and Strategy Video Game.
It was originally scheduled to be released earlier on 17th May of 2022. However, the release date was pushed to 9th August of 2022. This was a long delay, but nevertheless, the fans waited patiently for the release, and that is quite appreciable. The developers explained in a post on the Two Point Forums that more time was required in order for them to complete platform optimization before releasing the game. They planned on releasing the game to Windows PC and consoles simultaneously to entertain a larger audience. The game director Mark Webley said:
"This means we will need a little bit more time with Two Point Campus to make sure we deliver the best possible game that can be enjoyed equally on all platforms,"
Two Point Campus is now out and available on almost all platforms to play. The release time of the game in different countries was:
For players in the UK, around 3 pm BST on Tuesday 9th August Platforms
In the USA Two Point Campus was released at around 7 am PDT
In Europe, the game was released at around 4 pm CEST
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Two Point Campus Platforms
The Two Point Campus is available to play on multiple platforms, including:
the Xbox One range.
One of the reasons why the initial release was delayed was because the developers were working on the availability of Two Point Campus on multiple platforms. The game is available at the cost of $39.99 across all platforms. The price is very reasonable for a game which will engross you, and you will end up spending hours on it.
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The game was also available for pre-order, and for those who pre-ordered, it received some exclusive rewards like in-game items and cosmetics. The rewards included a U-shaped "Topiary" garden decoration, the "Fountain of Knowledge" decoration, and your very own "Pearl of Wisdom." Furthermore, for those who previously owned Two Point Hospital and pre-ordered Two Point Campus received the in-game varsity jacket and suit of armor.
It is a university management game. In which you are allowed to construct and run a revered institution of higher learning. It features options where you drive students from freshman year to graduation. Moreover, running bizarre courses like Knight School, fossil-digging archaeology, or even baking giant pizzas in Gastronomy and much more is also part of Two Point Campus. What makes the game more exciting is that you are allowed to individually get involved with the students. This also includes guiding them on a social as well as academic level. This particular feature was not available at Two Point Hospital.
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Moreover, you have full freedom to design the campus the way you want, from building the campus to as little as the desk, it's all in your hands. The game offers more customization than ever before. The official synopsis released by Two Point Studios was:
The official synopsis for the game reads: "Build the university of your dreams with Two Point Campus, the sim with a twist from the makers of Two Point Hospital. Build, hire staff and run an academic institution packed with wild courses."
Soon after the release, videos started surfacing on the internet reviewing the game. To give you a good idea about the gameplay of Two Point Campus. Check official trailer:
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text:
Franz Krommer (1759-1831)
Franz [František] Vincenc Krommer [Kramář]
Nationality: Czech | Moravian
Born: November 27, 1759, Kamenice u Třebíče Died: January 8, 1831, Vienna (age 71)
Page 1 of 8 | | | |
Popularity Date Title Composer Last Name First Name Duration Op. Age Nationality
All Clarinet Quintet Duo Flute Quartet Piano Quartet Piano Trio Quartet Quintet String Duo String Quartet String Quintet String Trio Trio Viola Quintet Violin Sonata
Show Movements
Date Age Duration Work
pub. c. 1821 61-62 22:00
String Quartet in a minor, Op. 103, No. 3
Flute Quintet in G major, Op. 101 (for flute, violin, 2 violas and cello)
pub. 1797 37-38 23:00
String Quartet in A major, Op. 7, No. 3
pub. 1798 38-39
String Quartet in F major, Op. 16, No. 2
String Quartet in E-flat major, Op. 5, No. 1
String Quintet in G major, Op. 8, No. 3
pub. c. 1825 65-66
String Quintet in E-flat major, Op. 107, No. 3
String Quartet in B-flat major, Op. 5, No. 3
String Quintet in C major, Op. 107, No. 1
Flute Quartet in F major, Op. 17 (for flute, violin, viola and cello)
String Quartet in g minor, Op. 24, No. 3
String Quartet in E-flat major, Op. 24, No. 2
String Quartet in D major, Op. 24, No. 1
String Quartet in C major, Op. 48, No. 2
String Quartet in e minor, Op. 7, No. 2
String Quintet in E-flat major, Op. 8, No. 2
String Quartet in C major, Op. 7, No. 1
with thinking heart and feeling mind, I'll embody your muse, thy soul divine
© 1997—2020 earsense. All rights reserved. contact earsense


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text:
Q: ¿Cómo estructurar una GUI (tkinter) para que tenga en archivos separados la App principal y los componentes secundarios? ¡Hola comunidad!
Estoy en desarrollo de una app que contiene muchas líneas de código. Aprovechando las ventajas que brinda Python deseo separar el código en diversos archivos o módulos que interactúen entre sí.
El objetivo es crear un archivo llamado App.pyw donde se almacenará la raíz de la interfaz gráfica (self.root = tk.Tk()) y otro(s) donde se encuentren los widgets a los que denomino secundarios (ej: tk.Menu ó tk.Toplevel).
Sucede que, en algunos casos, uno de los módulos secundarios necesita utilizar algún componente del archivo principal (App.pyw) para realizar una determinada tarea y, en mi caso, al ser llamados con algún método no llegan a ejecutarse. A continuación muestro un ejemplo:
Como dije anteriormente, tenemos un archivo llamado App.pyw:
import tkinter as tk
from tkinter import ttk, messagebox

from menu_modulo import *  # Módulo que contiene un widget de tipo tk.Menu

class mi_app():

    def __init__(self):

        self.root = tk.Tk()
        mi_menu = un_menu(self)
        self.root.config(menu=mi_menu)

    def mainloop(self):
        self.root.mainloop()

if __name__ == '__main__':
    ejemplo = mi_app()
    ejemplo.mainloop()

...y otro archivo que funciona como módulo de 'App.pyw', llamado menu_modulo.py:
import tkinter as tk
from tkinter import messagebox

class un_menu(tk.Menu):
    def __init__(self, parent, *args, **kwargs):
        super().__init__(*args, **kwargs)

        self.file = tk.Menu(self, tearoff=0)
        self.file.add_command(label='Salir', command=self.exit)

        self.add_cascade(label='Archivo', menu=self.file)

    def exit(self):
        valor = messagebox.askquestion('Salir', '¿Estás seguro de querer salir?')
        if valor == 'yes':
            self.root.destroy()

Al ejecutar el programa, aparentemente, todo marcha bien, salvo cuando el usuario selecciona la pestaña "Archivo" y elige la opción de "Salir"; puesto que a pesar de confirmar su solicitud, el programa no se cierra.
La intérprete de Python muestra el mensaje:
AttributeError: 'un_menu' object has no attribute 'root'

Supongamos que el menú también tuviese una opción de, por ejemplo, redimensionar el tamaño de la ventana, también necesitaría modificar a self.root, e intuyo que se presentaría el mismo error.

A: Simplemente pasa al constructor del widget hijo las referencias que necesites, en este caso no necesitas pasar nada, con parent tenemos, pero debes tener en cuenta algunas cosas:

*

*Como padre del widget hijo (el menú en este caso), no le puedes pasar self. Ten en cuenta que self en este caso es una referencia a la instancia de mi_app, que no es un widget de tkinter y por tanto no es un padre válido, debes pasar self.root al inicializador.

*Pasa siempre al inicializador de la clase de la que heredes la referencia al padre, es decir, en vez de:
super().__init__(*args, **kwargs)

debe ser:
super().__init__(parent, *args, **kwargs)

*En el menú, para acceder a la referencia del padre debes usar self.master, no self.root. self.root es un atributo de instancia de tu clase mi_app, pero no de un_menu.
app.py
import tkinter as tk
from tkinter import ttk, messagebox

from menu_modulo import UnMenu

class MiApp():

    def __init__(self):
        self.root = tk.Tk()
        mi_menu = UnMenu(self.root)
        self.root.config(menu=mi_menu)

    def mainloop(self):
        self.root.mainloop()

if __name__ == '__main__':
    ejemplo = MiApp()
    ejemplo.mainloop()

menu_modulo.py
import tkinter as tk
from tkinter import messagebox

class UnMenu(tk.Menu):

    def __init__(self, parent, *args, **kwargs):
        super().__init__(parent, *args, **kwargs)

        self.file = tk.Menu(self, tearoff=0)
        self.file.add_command(label='Salir', command=self.exit)

        self.add_cascade(label='Archivo', menu=self.file)

    def exit(self):
        valor = messagebox.askquestion('Salir', '¿Estás seguro de querer salir?')
        if valor == 'yes':
            self.master.destroy()

Si se diera el caso de que un widget necesitara una referencia a la instancia de MiApp y no solo a su atributo root, siempre puedes pasar la referencia al inicializador:
app.py
class MiApp():

    def __init__(self):
        self.root = tk.Tk()
        mi_menu = UnMenu(self.root, app=self)

menu_modulo.py
class UnMenu(tk.Menu):

    def __init__(self, parent, *args, app=None, **kwargs):
        super().__init__(parent, *args, **kwargs)
        self.app = app

    # Usa self.app como quieras, por ejemplo self.app.root.destroy()

Un par de observaciones sobre le código que no son errores, pero que deberías considerar:

*

*Te recomiendo encarecidamente que sigas las convenciones de estilo y que nombres siempre los módulos, funciones, métodos y variables con minúsculas y _ como separador y reserves el CamelCase para los nombres de clases y TODO_EN_MAYUSCULAS para las "constantes". Nada te obliga a ello, insisto, pero ayuda mucho a otros desarrolladores a leer el código e identificar que es una clase y que no solo con ver el nombre.

*Además, considera evitar en lo posible el uso del star/wildcard para importar (from modulo import *). Aunque en éste caso el módulo es creado por ti y por tanto se supone que es seguro importarlo sin que exista solapamientos indebidos de namespaces, de nuevo tenemos un problema de legibilidad.
Cuando el código es más extenso y se realizan varios imports de éste tipo, llega un momento que es imposible determinar de dónde sale cada nombre. Con ello obligas a otros desarrolladores (y a veces a uno mismo) a ir viendo módulo por módulo a ver si encuentran la clase o variable o a usar técnicas de introspección.
Por ejemplo:
from modulo1 import *
from modulo2 import *
from modulo3 import *

n = PI * 13
bar = Bar(n)
foo = Foo(E)

¿De dónde vienen Bar,Foo, PI y E?.
Todo queda más claro si haces:
from modulo1 import Foo
from modulo2 import Bar
from modulo3 import PI, E

n = PI * 13
bar = Bar(n)
foo = Foo(E)

o:
import modulo1
import modulo2
import modulo3

n = modulo3.PI * 13
bar = modulo2.Bar(n)
foo = modulo1.Foo(modulo3.E)

o:
import modulo1 as mod1
import modulo2 as mod2
import modulo3 as mod3

n = mod3.PI * 13
bar = mod2.Bar(n)
foo = mod1.Foo(mod3.E)

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