Anti-white racism is now widespread in the western world and sanctioned by our governments. This is practised through affirmative action in employment, school admissions and scholarship programs. There are grants and welfare that are available exclusively to members of particular non-white races. The mainstream media and entertainment industry promote white guilt where present-day white people who simply live their lives are told they practice systematic racism and are responsible for injustices carried out by their ancestors.
We are right to be concerned about anti-white racism given that we are seeing its end result play out in South Africa. Its government is presently undertaking the seizure of white farms without compensation in the name of equality and local gangs taking matters into the own hands with the brutal torture and murder of white South African farmers. Some South African politicians are openly calling for a white genocide. The left in Australia opposes offering these farmers humanitarian places here because they believe these farmers deserve to be punished for the ills of Apartheid.
This is why the latest example of anti-white racism in Australia is particularly alarming. The Sydney Theatre Company has just announced the world premiere of a new play Blackie Blackie Brown: The Traditional Owner of Death. The title character is described as Australia’s newest superhero and is created when “mild-mannered archaeologist Dr Jacqueline Black uncovers a mass grave” and when “She picks up a skull and is over-powered by the spirit of her great-great-grandmother… BAM! Blackie Blackie Brown has arrived and she is a cold-blooded vigilante”.
Her mission is to “kill all the descendants of the men who massacred her ancestors. White people, watch out. This isn’t about forgiveness. And it’s not about reconciliation”. Her catchphrase is “Your white meat is DONE, motherf***er”. In other words, her aim is to kill innocent white people because their descendants long dead did something bad. That is truly chilling.
Its violent plot is defended by being based on blaxploitation and revenge comedies of director Quentin Tarintino’s film’s Jackie Brown, Kill Bill and Django Unchained. However, the key difference in those films is people who are victims of the revenge attacks directly wrong the protagonist, were not innocent people.
Despite the hateful and racist plot of this play, it is being promoted as “a wild, twisted, hilarious origin story”. It is written by actress and author by Nakkiah Lui. Her previous play Black is the New White was about an Aboriginal feminist lawyer who falls in love with a white boy with conservative parents who she aims to enlighten about traditional aboriginal culture. She is also a writer for ABC’s Black Comedy program which recently aired a talk show sketch which had an Aboriginal panel debating “are white people c**ts?”
What is worst of all about the production of this play is it is funded by the taxpayer through various government arts agencies. It received a $40,000 from the Australia Council in 2014, it received $27,000 from Create NSW in 2015 and $26,509 through the existing agency Arts NSW’s Arts & Cultural Projects to fund a two-week creative development for the project.
A play which promotes the slaughter of innocent white people should be considered an incitement to racial violence and hatred, let alone be receiving taxpayer funds. It also demonstrates again how the radicals have taken over the Aboriginal welfare movement in that this play rejects reconciliation and believes vigilantism against whites is the only answer. Let us hope that in Australia the left doesn’t bring anti-white racism to dangerous levels.