Reconquête! Loiret mobilisé aujourd'hui pour dénoncer des cours d'anglais  "Indigéniste et non genré" en classe de 1ère Générale au Lycée Sainte-Croix          Saint-Euverte d'Orléans.

Des élèves du lycée Sainte-Croix Saint-Euverte d'Orléans ont contacté le parti Reconquête! du Loiret pour signaler la dérive et l'orientation politique de leurs cours d'anglais.

En effet, depuis 3 semaines, leur professeure d'anglais (option spécialité) leur demande de travailler sur une interview d'Elizabeth Burden et une photo de Megan Lewis (ci-dessous) orientées politiquement sur le sujet indigeniste et non genré!

Dans un établissement catholique renommé, les démons de l'indigénisme et de la théorie du genre ont pris le dessus. Exit les classiques de la littérature et la grammaire ... .Pourtant, le niveau en anglais des élèves en France est catastrophique!

En effet, selon le classement: EF Education First, la France était seulement au 32ème rang sur 80! Bravo aux Pays-Bas qui occupent la 1ère position (le Portugal 7ème, l'Allemagne 11ème, la Roumanie 15ème, la Suisse 25ème). La France 2ème puissance Européenne, se retrouve derrière La République Tchèque!!! Un comble pour notre pays, toujours prompt à critiquer et donner des conseils à nos voisins Européens.

Pendant que le niveau scolaire de nos enfants baisse, et que notre système éducatif est catastrophique, l'idéologie indigéniste et non genrée progresse! Devons nous laisser faire?

Nos enfants sont de plus en plus menacés dans les établissements scolaires : idéologie « woke » et militantisme LGBT, des enseignants souillent les fondamentaux d'enseignement scolaire au profit de cours orientés politiquement et idéologiquement. Que font le ministre Pap Ndiaye et l'inspection académique? RIEN!

Eh bien nous chez Reconquête! Loiret, nous ne lâcherons rien!

Nous allons continuer à dénoncer ce type de déviance parfaitement scandaleuse, nous tenir aux côtés de nos enfants pour faire barrage à ces idéologies nauséabondes qui gangrènent nos écoles.

Jean-Paul Mallet

Délégué Départemental du Loiret 

Lesson 5: Explaining one's art

Objectives:

Black Art and Social Justice: An Interview with Elizabeth Burden By Charisse Burden-Stelly June 14, 2018
Charisse Burden-Stelly: What does the "Black" in Black artist mean to you? Does "Black art" exist, and fi so, how would you describe or define it?
Elizabeth Burden: To me, the "Black" in Black artist means four things: a cultural heritage (a person of African heritage); a political consciousness; a particular positionality; and a 5 racialized categorization. Each of these modifies the term artist - a person who practices any of the various creative or plastic arts - in different ways, which informs my response to your second question.
Black art does not exist, but Black arts do.
There are artworks that enact, reflect, represent, and transmit heritage, which are an aesthetic of identity. There is artistic production that is politically engaged, producing art and artifacts that evoke conflicts about power and its uses/abuses that is an aesthetic of social justice. There are works that embrace the unique position of Blackness, negate it, or confront ,ti reflecting an aesthetic of subjectivity. There are works that explore the meaning ofBlackness, whiteness, or other -nesses as an aesthetic of ontology. And there are works that reflect none of the above, ni essence an aesthetic of pure aesthetics. These are all Black arts.
Burden-Stelly: Does the Black artist have an ethical or moral responsibility to produce work that excavates, reveals, and/or challenges the structures of domination that affect the lived conditions of Black people?
Burden: Just being Black, having the temerity to proclaim oneself a working artist challenges the structures of domination. At the same time, ti also capitulates to those structures.
The only responsibility that a Black artist has is to make art. However, I believe for any thinking Black person who is also an artist, ti is difficult to make art following an aesthetic of pure aesthetics.

One of the other four aesthetics, or a combination of them, are given form in tangible or visible works about the lived conditions and complexities of Black

people. One or more of the meanings of "Black" described previously will make its way into his, her, their, or zir artistic practice.( ZIR: Pronom "iel" en anglais !!!!!! )
My current artmaking vacillates between the Black aesthetics as I have defined them. Others have tried to define my work as being about other things: the universality of suffering, the capriciousness of life, the resilience of humanity; dualities, dichotomies, displacements, and disparities; bearing witness. It is all of those and none of them.
For me, I create primarily figurative works. The persons I choose to represent are predominantly Black or brown, and the subjects I respond to are those that challenge me personally; that challenge my thinking, feeling, or being.

Burden-Stelly: How does your art capture the dialectic between Black people's oppression and dispossession, and their resistance, joy, and striving?
Burden: The tools that I use as a visual artist are content, form, media, and process or technique.
In content, Isometimes directly address that dialectic, for example, in a series of diptychs I called When We W e r e Not, the works consider six eras of American history, each defined based on the predominant term used for people of African heritage during the period. The sinister panels interpreted well known incidents of oppression anddispossession, while the dexter panels presented portraits from the same period of my forebears enjoying their lives.

Other times the content is more subdued and it is the form or media that capture the
dialectic. In an installation entitled Palimpsests: My Great Grandfather's House, Iinvite the viewer to look into and through a facsimile of the house my great grandfather built as the first Black homesteader in Nebraska in 1868. He built his home, found a wife, farmed, raised a family, and helped to transform the 'wilderness." His story engenders family pride. 
it also raises questions: What histories are unrecognized, unspoken, or erased to make space for my family's narrative? What sins have been forgotten to allow for pride, the original and most serious of the seven deadly sins? In this installation, I recreated my great grandfather's house to scale using translucent and transparent ephemeral materials along with sound and photos from historical archives and my personal family photo archive.

Each component added a different dimension to a complete tableau, considering the layers of history.
Still other times it is in the process that the dialectic is foregrounded. The piece One is a Dinner Guest, is a set of instructions for two different social gatherings. The process of enacting captures delectation and dispossession, recreation and resistance.

Adapted from www.aaihs.org