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1.
ABSTRACT

This article explores theoretical-methodological challenges in researching the formation of collective memory in the wake of dictatorship. The worldwide growth of memory sites suggests space crystallizes memory into stable formations. However, rather than monolithic discourses, environments attest to complex processes of memorialization and willful amnesia. I propose that research-led filmmaking can draw out spaces’ heterogeneous “stories in waiting.” Through the documentary After Trujillo, which revisits memory sites and ruins of Rafael Trujillo’s dictatorship from 1930 to 1961 in the Dominican Republic, I assess how working at the interface between research and film can (a) probe space’s testimonial capacity; (b) engage audiences in public debates about violent pasts; and (c) stimulate sustainable discussions through online platforms. Given that films still lack recognition as academic outputs, at stake here is the claim that creative methodologies constitute “a form of research” and “detectable research outputs.”  相似文献   

2.
ABSTRACT

Discourses of discovery have been important in a wide range of musical contexts, from early modern ideas about musical composition through to current forms of popular music production and consumption. Across these various contexts there are often inherent connections between discovery and colonialism, connections that become most apparent in non-Western socio-cultural and musical settings. In this article, I situate discourses of discovery within the “coloniality of power,” noting how colonial discovery can be more critically described as invention. From here, I turn to the genre of World Music as an example of how musical discovery is underpinned by inherently colonial perspectives, articulations of power, and relationships of dominance and subordination between Western and non-Western cultures. In contrast, I present the concept of interculturalism as a way of thinking about the possibilities of cultural in-between-ness beyond discovery, drawing on the practices of musicians who articulate intercorporeal and intercultural communication through performance.  相似文献   

3.
ABSTRACT

As a femme woman of color, I employ critical autoethnography based on my participant observation within Chatroulette for a qualitative study on how online impressions through web cameras with strangers are formed in quick bursts of time. Chatroulette’s anonymity adds interesting context for impression creation in an online environment that emphasizes ocularcentrism of the embodied self. This article adds to methodologies of self-care for the qualitative researcher by positioning the issue of self-care in the online field, where “regular” interactions based on race, gender, sexuality, and more may leave autoethnographers from marginalized communities especially vulnerable. This study complicates the conceptual boundaries of “audience,” “participation,” and “observation” for online autoethnographic research. This research contributes to impression formation theory by focusing on the importance of the body in immediate, one-time impression constructions with conversational partners online. Race, gender, and sexuality impact online communication, even when a word is not even said.  相似文献   

4.
ABSTRACT

The early 1980s marks a significant period for modern theatre in Taiwan. It is often heralded as the “renaissance of modern Chinese/Taiwan theatre” through the reinvention of Chinese theatrical traditions, such as the Peking opera. This paper examines the connotations and denotations of “the West,” which serves as an important reference or counterpart in theatre practice of the period. An “open body” on stage was highly appraised and requested for theatre practitioners during the time. By historicizing the West in tandem with the concept of the “open body,” this paper calls attention to the socio-historical and the geopolitical aspects of the Cold War in Taiwan’s “theatrical renaissance.” “An open body” was emphasized in the first year of “Experimental Theater Exhibition” in 1980. Wu Jing-jyi, who had experienced working and directing in one of the most famous Off-Off-Broadway theatres, LaMaMa E.T.C in New York, led a series of workshops and training courses in “Lan-ling Theater Workshop” and created a new performing method on the basis of what they coined as “an open body.” Lee Kuo-hsiu, Liu Ching-min, Chin Shih-chieh, Lee Tien-ju – most of whom were and still are the leading actors and actresses in Taiwan – among others were all trained and influenced by this method. The magnificent production of the play Hechu xinpei was an example that followed the “open body” performance method. In this paper I make two main arguments. First, without examining closely what an open body signified at the time, the discursive formation of the body in the 1980s theatre renaissance cannot be fully comprehended. Second, I propose that the modern Taiwanese body that is open is simultaneously imbricated in relation to geopolitics, knowledge of Area Studies, and modernity – categories that the United States invented, led and developed throughout the Western bloc in the Cold War.  相似文献   

5.
ABSTRACT

This article compares the cultural governance pathways of two UNESCO “Design Cities” – Bandung and Cape Town – methodologically framing them as “repeated instances” [Robinson, J. (2018). Policy mobilities as comparison: Urbanization processes, repeated instances, topologies. Revista de Administração Pública, 52(2), 221–243] of a globalized drive towards more creative cities. While the value of mobilizing culture for local urban change in rapidly growing cities of the global South is increasingly recognized [Mbaye, J., & Dinardi, C. (2018). Ins and outs of the cultural polis: Informality, culture and governance in the global South. Urban Studies, 56(3), 578–593], postcolonial urban scholars have rightly questioned whether internationally popular cultural policy approaches are able to speak to their complex challenges, underpinned by informality and the after-effects of colonialism [Pieterse, E. (2006). Building with ruins and dreams: Some thoughts on realising integrated urban development in South Africa through crisis. Urban Studies, 43(2), 285–304]. As postcolonial states are slowly shifting away from a centralized cultural institution model linked to symbolic nation building projects [Booyens, I. (2012). Creative industries, inequality and social development: developments, impacts and challenges in Cape Town. Urban Forum, 23(1), 43–60], travelling cultural policies brought in by foreign agencies and adapted by local epistemic communities have inspired a range of responses that can be broadly described as cultural policy innovation from below Cohen, D. (2015). Grounding mobile policies: Ad hoc networks and the creative city in Bandung, Indonesia. Singapore Journal of Tropical Geography, 36(2015), 23–37]. In turn, we examine how different cultural policy approaches have been locally mobilized and reworked in Bandung and Cape Town in response to situated realities and in partnerships between cultural, academic, business and local government actors. We argue that comparing the emerging “creative cityness” [Nkula-Wenz, L. (2018a). Worlding Cape Town by design: Encounters with creative cityness. Environment and Planning A: Economy and Space, 1–17] of both cities provides valuable insights into the opportunities and challenges of urban cultural governance in the global South.  相似文献   

6.
ABSTRACT

What new styles of selfhood and self-presentation, forms of social status, and arbiters of “authenticity” are being authorized and propagated in the wake of big data and affective capitalism? How are they functioning, for whom, and to what end? This article takes up these questions via an examination of a sought-after user identity badge, the Twitter verification checkmark, figuring it as both an affective lure that incentivizes specific styles of self-presentation and a disciplinary means through which capitalist logics work to condition and subsume the significance of the millions of forms of self-presentation generated daily. Beneath the promise of democratized access to social status and fame, the business practices of the social platforms in and through which we self-present draw us into privatized strategies of social sorting, identity management, and control. To conclude, the article will posit a new “ideal type” of selfhood for the big data age.  相似文献   

7.
ABSTRACT

This article examines efforts to document Japan’s Hashima Island following its appearance in the popular film Skyfall. It describes how the film’s commercial success led to an effort by Google to produce images of the island’s built environment using digital navigation technologies. It further describes how this effort led the Japanese government to include Hashima Island in a bid to gain Unesco heritage status for Meiji-era sites of industrialization. Drawing from visual studies, critical media studies, and from interdisciplinary approaches to collective memory, this article analyzes how the circulation of images depicting Hashima Island in popular culture affects continuing efforts to hold Japan accountable for injustices committed there in the past. By narrowing on the moment “after” Skyfall, the article concludes with an assessment of the island’s Google Street View archive in terms of its broader impact on the uses of navigation, spatial presence, and digital heritage.  相似文献   

8.
ABSTRACT

While selfies of beautiful cisgender women are declaimed by mainstream media as narcissistic and facile, some body-positive feminists and queer theorists argue that selfies can be empowering. They claim self-representation by traditionally stigmatized people can challenge normative presentations of beauty and gender. This article problematizes “empowerment” as a definitive and/or productive frame and argues instead for observation and analysis of “privilege” in situated practice. In this article I combine analysis of a collection of online cultural artifacts (including nonbinary selfies on Tumblr) and interviews with a small group of trans* social media storytellers to explore theoretical tensions between gender fluidity and identity fragmentation across multiple social media sites and practices. Gender-diverse digital self-representation encompasses both “consistent” androgyny, nonbinary, agender, and so on, and “emergent” presentations-in-flux. I assert that the ongoing iteration of self across social media—implied by self (re)presentation—can have simultaneous and contradictory political significance. I conclude that networked interpersonal complications frame understandings of empowerment, as perhaps they always have done.  相似文献   

9.
ABSTRACT

This essay examines the pedagogical practice of referencing my experiences as a transnational Korean American woman in the classroom and considers how it opens up space for domestic and international students of East, Southeast, and South Asian backgrounds to reflect on their different identities, histories, and cultures. In particular, it focuses on how this practice enables Asian students to share their experiences of and insights about racial difference, racism, and whiteness in Australia and other parts of the world. Building on the concept of Asian “inter-referencing” from Chua Beng Huat (2015), I coin the term “embodied inter-referencing” to describe the strategic ways I use autobiographical narrative to create an inclusive, interactive, and mutually respectful learning space. I centre here on how some Asian students respond to this strategy by telling their own stories and in the process, create transnational, diasporic, and inter-Asian affective communities inside and outside the classroom.  相似文献   

10.
ABSTRACT

This paper shares the experiences of an emergent collective of young intellectuals in Hong Kong and its recent project, Mundi, which consists of publication, activist research and communal transmission of knowledge. The project negotiates the notion and practice of “common” at the limit, from within the historical experience of Hong Kong, between academia and public intellectuals, global universalism and local particularism, and colonial knowledge and everyday urban practice. Affected by an intense desire to analyse and theorise the reality of Hong Kong, Mundi engages in a long process of decolonising knowledge production. The paper also explores how Mundi responds to the demand of the present post-Umbrella Hong Kong situation by problematising and re-articulating the common.  相似文献   

11.
This article discusses how the Singaporean Chinese director, Yi Shui, created a Malayanized Chinese-language cinema during the 1950s and 1960s, and offers a retrospective of the way people in Malaya and Singapore framed their nation-building discourse in terms of anti-colonialism and anti-imperialism after the Bandung Conference in 1955. This article holds that the term huayu dianying (Chinese-language cinema) was not first used in the 1990s by scholars in Hong Kong and Taiwan, but that its origins can be traced to Singapore and Malaya in the 1950s where Yi Shui promoted Malayanized Chinese-language cinema in the Nanyang Siang Pau. This earlier use of the term “Chinese-language cinema” overlaps with its current academic usage, including films in Mandarin and Chinese dialects. In 1959, Yi Shui’s essays were collected in On Issues of the Malayanization of Chinese-Language Cinema. Yi Shui also directed several Malayanized Chinese-language films. This article analyzes his “Chinese language cinema” film practice by examining the discourses surrounding the “Malayanization of Chinese-language cinema” in order to show that his semi-documentary Lion City and the melodrama Black Gold attempted to mediate the misunderstandings rooted in the national boundaries and politics of various dialect groups through a “multi-lingual symbiosis” of Chinese languages.  相似文献   

12.
An introduction     
Abstract

Political and historical thoughts pertaining to “modern Malaya” and Malaysia are phenomena of the emerging modern era characterized by the stirrings and the rise of nationalism in Southeast Asia since the early twentieth century. One of the most compelling ideas in envisioning the nation and fighting for independence then was Melayu Raya, articulated by a group of visionary leaders of socio-political movements who professed to fight for the creation of a political entity, a new independent “nation.” Using the history of ideas approach, this article argues that nations are envisioned, and that we need to contextualize the discussion within what has been termed as “Malay world,” the old kingdoms in the region, and the subsequent struggles against colonial powers and the “nationalist” projects for independence. To help understand this background, the article uses the concept of “culture zone” as used by Fernand Braudel in his study of civilizations. This article examines the debate on the “Malay world” and Melayu Raya, and also the post-Second World War envisioning of the nation and the approaches taken by various groups to fight against British colonialism and for independence. Despite almost six decades of independence, some of these ideas keep returning, resonating with some aspects of the present in today's Malaysia. In the course of this article, a brief reference to the history of ideas and the idea of history is made.  相似文献   

13.
ABSTRACT

What happens when we try to understand art as a commons? Elinor Ostrom [(1990/2012). Governing the commons. Cambridge University Press] challenged Hardin’s “The tragedy of the commons” [(1968). Science, 162(3859), 1243–1248] demonstrating that the governance of common pool resources is not always destined to failure. Ostrom’s analysis was initially applied to the management of shared natural resources; however, over time the term “commons” has also been used to describe non-tangible resources, specifically knowledge. Can Ostrom’s theory of the commons inform artistic practice? This article investigates some challenges presented by these research questions and their implications for cultural policy. In order to provide an empirical ground for the discussion of this topic, this paper will analyse the case studies of two cultural spaces in Italy, Teatro Valle (Rome) and Asilo Filangieri (Naples), which were occupied by groups of cultural professionals and managed as commons between 2011 and 2016; the outcomes of these occupations indicate possible ways to develop a commons-oriented approach to culture.  相似文献   

14.
ABSTRACT

Successive policies and efforts to increase participation in a range of arts and cultural activities have tended to focus on the profile and attitude of individuals and target groups in order justify public – and therefore achieve more equitable – funding. Rationales for such intervention generally reflect the policy and political regime operating in different eras, but widening participation, increasing access and making the subsidised arts more inclusive have been perennial concerns. On the other hand, culture has also been the subject of a supply-led approach to facility provision, whether local amenity-based (“Every Town Should Have One” – Lane, 1979. Arts centres – every town should have one. London: Paul Elek), civic centre or flagship, and this has also mirrored periodic growth in investment through various capital for the arts, municipal expansion, urban regeneration, European regional development and lottery programmes. Research into participation has consequently taken a macro, sociological, “class distinction” approach, including longitudinal national surveys such as Taking Part, Target Group Index, Active People and Time Use Surveys, whilst actual provision is dealt with at the micro, amenity level in terms of its impact and catchment. This article therefore considers how this situation has evolved and the implications for cultural policy, planning and research by critiquing successive surveys of arts attendance and participation and associated arts policy initiatives, including the importance of local facilities such as arts centres, cinemas and libraries. A focus on cultural mapping approaches to accessible cultural amenities reveals important evidence for bridging the divide between cultural participation and provision.  相似文献   

15.
ABSTRACT

This article examines the social media campaign “Once I was a refugee” by former refugees as a response to the increasingly hostile political climate in Finland against refugees. With selfie activism, the campaign expanded the “space of appearance” and introduced new voice and visuality to the public debate. The case depicts politics of claiming citizenship and social value through self-presentation to counter views of refugees as economic burden, noncitizens, and surplus humanity. The empirical material is based on analysis of the Facebook and Twitter campaign and interviews with the participants. It is argued that selfie activism may occasionally, through new voice and visibility, expand the space of appearance and contribute to the rise of affective or counter-publics that can come together and make use of digital media for political action. However, the case also reveals how difficult it is to speak from a refugee position without being drawn into the discourse of deservingness.  相似文献   

16.
ABSTRACT

In this article, I combine theorizations of the selfie as an aesthetic and technological practice of digital self-representation with a theatrical conception of spectatorship, inspired by Adam Smith, in order to argue that the selfie has the potential to operate as a significant ethico-political spectacle in the spaces of Western publicity. I exemplify my argument by using the remediation of migrant and refugee selfies in mainstream news as a case study of “symbolic bordering”—as a technology of power that couples the geopolitical bordering of migrants in the outskirts of Europe with practices of “symbolic bordering” that appropriate, marginalize, or displace their digital testimonies in Western news media.  相似文献   

17.
ABSTRACT

Fantastic Man (2014) and Searching for Sugar Man (2012) mobilize tropes of discovery occurring in the filmed process of collecting and curating the work and identities of two reluctant, elusive, and resistive figures. These documentaries are part of a discourse of collectability marked by the urge to discover and narrate a “quest” that has its precedents in record collecting as obsessive cultural practice and in the fetishizing of obscurity. Furthermore, they can be seen as “performances” of the artiste and repertoire (A&R) process but for a “post-rock” era in which the customary roles of A&R have largely been eclipsed by social, economic, and technological changes to the music industry: the “(re-)discovery” of Onyeabor and Rodriguez exemplifies an increasingly common fusion of, rather than oscillation between, novelty and nostalgia in the music industry, as “old” artists are “newly” discovered through practices of media archaeology aimed at unearthing artifacts of cultural and economic value from an ever bigger and denser digital archive.  相似文献   

18.
ABSTRACT

This article problematizes the modern construction of “love” in colonial and contemporary Taiwan and South Korea through historicizing the concept from the nineteenth century to the present. The conception of modern love in East Asia emerged during the late nineteenth century that coincided with the beginnings of civilization and nation-building discourses advocating as a strong mediator for the reconfiguration of social and intimate relationships. In the case of colonial Taiwan and Korea, the colonial governments and intellectuals constantly pivoted on “exceptions” – obscene sex, indecent behavior or illegitimate subjects – to justify their political legitimacy/hegemony to love that prescribed a normative social relationship. Fully embraced by colonial Taiwan and Korea, this mechanism was extended to their postwar regimes; that is, love is celebrated and worshiped without the recognition of its underlying ideology of discrimination and exclusion. I coin the term “love unconscious” to characterize the colonial legacies of love in the contemporary social movements in Taiwan and South Korea. Furthermore I examine how both religious groups and LGBTQ activism were stuck in the “love unconscious” with two cases of contested love: the definition of love in the dictionary, and the rhetoric of love in (anti-)same-sex marriage movements. This article argues that Taiwan and South Korea's LGBTQ and marriage movements are based neither on Western discourses nor inspiration, but are instead driven by the reality and legacy of colonial history. To envisage the decolonization of love is to deconstruct the love unconscious and reconsider the history of colonial love.  相似文献   

19.
ABSTRACT

For many forcefully displaced people worldwide, notions around one’s sense of “home” and “place” in the world are perpetually unsettled. This article explores how digital technologies interact with embodied, material experiences within the geographical location refugees are residing in. Empirical examples from ethnographic research conducted among Iraqi urban refugees, living in prolonged uncertainty in Jordan, shows how situated experiences of legal, material, and social uncertainty reinforce particular mediated socialities. Pivotal studies have shown how digital connections engender virtual home-making practices and a wide variety of connected presences. This study points to the other side of the same coin: the cultivation of “absent presence.” “Absent presence” refers to feelings—the ambivalence that experiences of prolonged displacement bring about—but also to active disengagement and affective tactics in response. These engender a further separation from the physical world where forced migrants are not deemed welcome.  相似文献   

20.
ABSTRACT

This article first examines the resurgence of popular, semi-academic nationalist discourses that solidify the figures of “Japan” and “Okinawa” within post-1945 U.S.-led formation of nation-states across the Asia-Pacific. It critiques two discourses that are symptomatic of such a return to the figure of the nation: developmental economist Matsushima Yasukatsu’s thesis of “Ryukyu’s independence” and philosopher Takahashi Tetsuya’s call to relocate the U.S. military bases from Okinawa to mainland Japan. These symptomatic instances of the mutually transferential nationalisms in Okinawa and mainland Japan rely upon crudely culturalist assumptions about the self and the others and are thus surprisingly oblivious to how the very nation-forms have been instituted as part of imperial modernity. Their implicit figurations of the exemplary national subjects partake in the biopolitical assumptions as to whose lives must be “made to live” and “made to die” within and outside the border of the national. Ultimately, such nationalist discourses about Japan and Okinawa engage in a zero-sum exchange of imperial shame and colonial shame, a process that further stabilizes the co-operative placement of local nation-forms within the U.S.-led inter-state regime of warfare and biopolitics. But insofar as these discourses require the images of the nations that they seek to represent, their (re)production of what Naoki Sakai calls “a schema of co-figurative” nationalities needs to be critiqued through an exploration of a radical aesthetics and affect that pertain to image production.

The second part of the article presents my interpretation of artist Nema Satoko’s recent book of photography titled Paradigm, a work in which both bodies and objects explore their potential transformations in the midst of their precarious exposure to one another. I argue that Nema’s images of fragile bodies and objects in the present landscape of Okinawa are poised on the cusp between the past that invokes a sense of shame and this past’s potential future that necessitates an ethical posture of humility. In the vicinity of Adorno’s notion of “art’s shame,” Nema’s photographic images illuminate an amorphous realm of fragile beings, whose linkage and exposure to one another opens a space of viability that is obscured by the biopolitical imaginaries of nation-forms.  相似文献   

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