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Books on the topic 'Diasporic artists'

Author: Grafiati
Published: 19 February 2023

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1

Kintanar, Thelma B. Filipina artists in diaspora. Manila: Published and exclusively distributed by Anvil Pub., 2011.

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Arirang kkotssi: Korean diaspora artists in Asia. Sŏul: K'ŏlch'ŏ Puksŭ, 2009.

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3

Dabrowski, Leszek, ed. BIGOS: artists of Polish origin. Sandomierz, Poland: Biuro Wystaw Artystycznych w Sandomierzu, 1989.

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4

L'arte della migrazione: Memorie africane tra diaspora, arte e musei. Torino: Trauben, 2005.

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5

Kwok, Ying, ed. 21: Discussions with artists of Chinese descent in the UK. Manchester: Chinese Arts Centre, 2008.

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6

Rizal, José, and Edwin Agustín Lozada. Remembering Rizal: Voices from the diaspora. San Francisco: Philippine American Writers and Artists, 2011.

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7

Postcolonial artists and global aesthetics. Bloomington: Indiana University Press, 2011.

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8

Geoffrey, Batchen, Keaney Magda, and National Portrait Gallery (Australia), eds. Love it and leave it: Australia's creative diaspora. Sydney: T & G Pub. with assistance of the National Portrait Gallery, 2007.

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9

Ann, Farrell Laurie, Byvanck Valentijn, DeSouza Allan 1958-, Museum for African Art (New York, N.Y.), Peabody Essex Museum, Cranbrook Art Museum, and Museu Calouste Gulbenkian, eds. Looking both ways: Art of the contemporary African diaspora. New York: Museum for African Art, 2003.

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10

Szegő, György, Levente Thury, and Róbert B. Turán. Diaszpóra (és) művészet: Magyar Zsidó Múzeum, 1997 március-1998 március. Budapest: Magyar Zsidó Múzeum, 1997.

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11

Chiang Yee: The silent traveller from the East, a cultural biography. New Brunswick, N.J: Rutgers University Press, 2010.

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12

Cohen, Richard I., ed. Carol Zemel, Looking Jewish: Visual Culture and Modern Diaspora. Bloomington: Indiana University Press, 2012. 198 pp. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912628.003.0035.

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This chapter reviews the book Looking Jewish: Visual Culture and Modern Diaspora (2012), by Carol Zemel. In Looking Jewish, Zemel explores normative historical accounts of “Jewish art.” She probes a “diasporic position” between the Scylla and Charybdis of the nation and the modern, offering a detailed analysis of an array of visual artifacts and their creators. The book features “pictures by Jewish artists that deal with the status and character of Jews in modern diasporic communities.” The art and artists are characterized by the notion of standing on a threshold—at the edge of place, on the cusp of time. Through her meticulous and engaging readings of images in their historical context, Zemel examines the notion of diaspora as an analytical term and its particular meaning for Jewish studies.
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13

Manuel, Peter. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038815.003.0001.

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This chapter provides background data on Indo-Caribbean history and situates that culture's development in the context of diasporic studies as a whole. It provides an overview of North Indian Bhojpuri music culture and of Indo-Caribbean music culture, with reference to traditional Bhojpuri aspects, creolized entities like chutney-soca, and the ramifications of exposure to North Indian “great tradition” musics—both pop and classical—since the 1940s. It argues that the various trajectories and the form of Bhojpuri diasporic music in general must be attributed primarily not to inherent features of particular genres or to the activities of particular artists but rather to intricate dynamics of diaspora culture—in this case, Bhojpuri Caribbean diasporic culture.
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14

Velasco, Gina K. Queering the Global Filipina Body. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043475.001.0001.

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The “global Filipina body” is a ubiquitous sign of the Philippine nation that represents the exploitation of racialized and gendered Filipina migrant labor in a context of neoliberal globalization and US neoimperialism. Focusing on multiple iterations of the global Filipina body--the “mail-order bride,” the sex worker / trafficked woman, and the overseas contract worker (OCW)--within contemporary Filipina/o diasporic cultural production and global popular culture, this book argues that the global Filipina body represents both the failure of the heteropatriarchal Philippine nation to achieve sovereignty and the catalyst for discourses of anti-imperialist and revolutionary Filipina/o diasporic nationalism. The first half of the book critiques the heteronormativity and masculinism of representations of the global Filipina body as a sign of the Philippine nation, focusing on heritage language programs for Filipina/o Americans (chapter 1) and the Filipina/o American film Sin City Diary (chapter 2). The latter half of the book argues that the Filipina/o American artists the Mail Order Brides / M.O.B. and Gigi Otálvaro-Hormillosa queer the figure of the global Filipina body through their visual art and performance, presenting a queer and feminist intervention in the politics of nation and diaspora.
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15

Chancy, Myriam J. A. Autochthonomies. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043048.001.0001.

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Autochthonomies is an intellectual project that engages readers in an interpretive journey: it engages and describes a process by which readers of texts created by artists and actors of African descent might engage such texts as legible within the context of African Diasporic historical and cultural discursive practices. It argues that there is a cultural and philosophical gain to understanding these texts not as products of, or responses only to, Western hegemonic dynamics or simply as products of discrete ethnic or national identities. By invoking a transnational African/Diasporic interpretive lens, negotiated through a virtual “lakou” or yard space in which such identities are transfigured, recognized, and exchanged, the study demonstrates how to best examine the salient features of the texts that underscore African/Diasporic sensibilities and renders them legible, thus offering a potential not only for richer readings of African Diasporic texts but also the possibility of rupturing the Manichean binary dynamics through which such texts have commonly been read. This produces an enriching interpretive capacity emphasizing the transnationalism of connections between subjects of African descent as the central pole for undertaking such investigations. Through the use of the neologism, autochthonomy, the study argues further that, despite colonial interruptions, critics of such works should seek to situate them as part of an intricate network of cultural and transnational exchanges.
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16

Adair, Gigi. Kinship Across the Black Atlantic. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620375.001.0001.

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This book considers the meaning of kinship across black Atlantic diasporas in the Caribbean, Western Europe and North America via readings of six contemporary novels. It draws upon and combines insights from postcolonial studies, queer theory and black Atlantic diaspora studies in novel ways to examine the ways in which contemporary writers engage with the legacy of anthropological discourses of kinship, interrogate the connections between kinship and historiography, and imagine new forms of diasporic relationality and subjectivity. The novels considered here offer sustained meditations on the meaning of kinship and its role in diasporic cultures and communities; they represent diasporic kinship in the context and crosscurrents of both historical and contemporary forces, such as slavery, colonialism, migration, political struggles and artistic creation. They show how displacement and migration require and generate new forms and understandings of kinship, and how kinship may be used as an instrument of both political oppression and resistance. Finally, they demonstrate the importance of literature in imagining possibilities for alternative forms of relationality and in finding a language to express the meaning of those relations. This book thus suggests that an analysis of discourses and practices of kinship is essential to understanding diasporic modernity at the turn of the twenty-first century.
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17

Pinho, Patricia de Santana. Mapping Diaspora. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469645322.001.0001.

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Brazil, like some countries in Africa, has become a major destination for African American tourists seeking the cultural roots of the black Atlantic diaspora. Drawing on over a decade of ethnographic research as well as textual, visual, and archival sources, Patricia de Santana Pinho investigates African American roots tourism, a complex, poignant kind of travel that provides profound personal and collective meaning for those searching for black identity and heritage. It also provides, as Pinho’s interviews with Brazilian tour guides, state officials, and Afro-Brazilian activists reveal, economic and political rewards that support a structured industry. Pinho traces the origins of roots tourism to the late 1970s, when groups of black intellectuals, artists, and activists found themselves drawn especially to Bahia, the state that in previous centuries had absorbed the largest number of enslaved Africans. African Americans have become frequent travelers across what Pinho calls the "map of Africanness" that connects diasporic communities and stimulates transnational solidarities while simultaneously exposing the unevenness of the black diaspora. Roots tourism, Pinho finds, is a fertile site to examine the tensions between racial and national identities as well as the gendered dimensions of travel, particularly when women are the major roots-seekers.
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18

Moyer, Ian, Adam Lecznar, and Heidi Morse, eds. Classicisms in the Black Atlantic. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198814122.001.0001.

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This volume presents a series of studies on literary, artistic, and political uses of classical antiquity in modern constructions of race, nation, and identity in the Black Atlantic. In the fraught dialogue between race and classics there emerged new classicisms, products of the diasporic chronotope defined by Paul Gilroy as originating in the violence of the Middle Passage. Contributions to the volume explore the work and thought of writers and artists circulating in the Black Atlantic, and their use of heterogeneous classicisms in representing their identities and experiences, and in critiquing hegemonic Eurocentric or racialized classicism. Ranging across anglophone, francophone, and hispanophone worlds, and coming from an array of disciplinary perspectives including historical and biographical approaches, literary studies, and visual arts, these essays join in the shared goal of examining past and present intersections between classicisms, race, gender, and social status.
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19

Art, Creativity, and Politics in Africa and the Diaspora. Palgrave Macmillan, 2018.

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20

Maxwell, Janice. Jamaican Diaspora : Canvas Artist Edition: Canvas Artist Edition. Independently Published, 2019.

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21

Alridge, Derrick P., Cornelius L. Bynum, and James B. Stewart, eds. The Black Intellectual Tradition. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043857.001.0001.

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From 1900 to the present, people of African descent living in the United States have created a Black intellectual tradition engaged with ideas on race, racial oppression, and the world. This interdisciplinary volume explores the diverse thought behind the fight for racial justice as developed by four groups of African Americans: artists and intellectuals; performers and protest activists; institutions and organizations; and educators and religious leaders. By including both women’s and diasporic perspectives, the essays explore the full landscape of the Black intellectual tradition. Contributors engage with important ideas ranging from the consideration of gender within the tradition, to intellectual products generated outside the intelligentsia, to the ongoing relationship between thought and concrete effort in the quest for liberation.
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22

Kim, Christine. Diasporic Fragility and Brokenness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040139.003.0004.

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This chapter examines works by Korean Canadian artist David Khang and Korean American writer Susan Choi through the lens of fragility in order to understand the complexities of diasporic publics as formations of feeling. Khang's art installation Mom's Crutch (2004) and performance art project Wrong Places (2007–14) and Choi's 1998 novel, The Foreign Student, underscore the need to spatialize discussions of postcolonial intimacies and affect by reminding that diaspora is an affective formation whose participants are situated within diverse national contexts, and that this tension shapes global politics and possibilities. Indeed, their projects speak to the geopolitics of feeling and the local, national, and global structures that shape delicate memories, racialize social intimacies, and formulate Asia as a site of alterity.
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23

Rizvi, Sajid. 101 Diasporas: Artists of Chinese Descent in Britain. Saffron Books, 2002.

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24

Artists, Performers, and Black Masculinity in the Haitian Diaspora (Blacks in the Diaspora). Indiana University Press, 2008.

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25

Braziel, Jana Evans. Artists, Performers, and Black Masculinity in the Haitian Diaspora (Blacks in the Diaspora). Indiana University Press, 2008.

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26

Sonn, Richard David. Modernist Diaspora: Immigrant Jewish Artists in Paris, 1900-1945. Bloomsbury Publishing Plc, 2022.

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27

Sonn, Richard D. Modernist Diaspora: Immigrant Jewish Artists in Paris, 1900-1945. Bloomsbury Publishing Plc, 2023.

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28

Diaspora : Korean Nomadism: Korean Nomadism. KONG & PARK, Incorporated, 2011.

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29

Hsu, Hsuan L. The Smell of Risk. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479807215.001.0001.

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The Smell of Risk considers the capacities of olfaction as a tool for sensing and staging modernity’s differentiated atmospheres and their associated environmental risks. Focusing on American literature and art from the 1890s to the present, the book considers how smell stages the pathways through which environmental materials enter and interact with bodies in detective fiction, naturalist novels, environmental illness memoirs, environmental justice narratives, and olfactory art. These texts reframe modernization as a regime of differential deodorization that relocates bad air and its associated noxious odors to vulnerable spaces and populations even as it derecognizes olfaction as a mode of embodied knowledge. The Smell of Risk brings insights from the fields of material ecocriticism, sensory studies, atmospheric geography, and critical race studies to bear on diverse contexts of atmospheric disparity, including Latinx communities exposed to freeway exhaust and pesticides, Asian diasporic artists’ responses to racial discourses about Asiatic odors, and writings that explore the atmospheric devastation of settler colonialism and the olfactory capacities of Indigenous plants.
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30

Kasi︠a︡novych, Fedoruk Oleksandr, ed. Mystet︠s︡tvo ukraïnsʹkoï diaspory: Povernuti imena. Kyïv: "Triumf", 1998.

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31

Philip, Hughes, Roberts Sara, and Ruthin Craft Centre, eds. Diaspora Cymreig: Makers of Welsh origin working outside Wales. Ruthin: The Gallery, Ruthin Craft Centre, 2002.

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32

Identity Memory And Diaspora Voices Of Cubanamerican Artists Writers And Philosophers. State University of New York Press, 2009.

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33

Herrera, Andrea O'Reilly. Cuban Artists Across the Diaspora: Setting the Tent Against the House. de Gruyter GmbH, Walter, 2011.

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34

Cuban Artists Across The Diaspora Setting The Tent Against The House. University of Texas Press, 2011.

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35

Herrera, Andrea O'Reilly. Cuban Artists Across the Diaspora: Setting the Tent Against the House. University of Texas Press, 2011.

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36

Jaime, Karen. The Queer Nuyorican. NYU Press, 2021. http://dx.doi.org/10.18574/nyu/9781479808281.001.0001.

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The Queer Nuyorican critically studies the historical, political, and cultural conditions under which the term “Nuyorican” shifts from a raced/ethnic identity marker to “nuyorican,” an aesthetic practice. While “Nuyorican,” uppercase N, marks an ethnic, political, and cultural identity signifying Puerto Rican community, culture, and struggle in New York City from the late 1960s through the 1980s, “nuyorican,” lowercase n, references an aesthetic practice that developed alongside the spoken word and competitive slam poetry scene in the 1990s. The nuyorican aesthetic queers fixed definitions of Nuyorican identity by recognizing and including queer poets and performers of color whose cultural works build upon the linguistic, spatial, and ethno-cultural politics inherent in the Cafe’s founding. Initially situated within the Cafe’s physical space and countercultural discursive history, the nuyorican aesthetic extends beyond these gendered and ethnic boundaries, broadening the ethnic marker “Nuyorican” in order to include queer, trans, and diasporic performance modalities. Focusing on the interventions made by queer and trans artists of color—Miguel Piñero, Regie Cabico, Glam Slam participants, and Ellison Glenn/Black Cracker—this book argues that the Nuyorican Poets Cafe has operated as a queer space since its inception.
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37

Identity, memory, and diaspora: Voices of Cuban-American artists, writers, and philosophers. Albany: State University of New York Press, 2007.

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38

Perez-Sarduy, Pedro, and Jean Stubbs, eds. Afrocuba: Anthology of Cuban Writing on Race, Politics and Culture. Practical Action Publishing, 1993. http://dx.doi.org/10.3362/9781899365142.

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This anthology looks at the AfroCuban experience through the eyes of the island’s writers, scholars and artists. "A rich portrait of AfroCuba—one of the most vibrant and least well-documented of the black Caribbean diasporas." —Stuart Hall
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39

Duany, Jorge, ed. Picturing Cuba. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.001.0001.

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This book delves into several defining moments of Cuba’s artistic evolution from a multidisciplinary perspective, including art history, architecture, photography, history, literary criticism, and cultural studies. Situating Cuban art within a wider social and historical context, fifteen prominent scholars and collectors scrutinize the enduring links between Cuban art and cultural identity. Covering the main periods in Cuban art (the colonial, republican, and postrevolutionary phases, as well as the contemporary diaspora), the contributors identify both the constant and changing elements and symbols in the visual representation of Cuba’s national identity. The essays collected in this volume provide insightful information and interpretation on the historical trajectory of Cuban and Cuban-American art. From colonial engravers to contemporary photographers, several generations of Cuban artists have been fascinated—perhaps even obsessed—with picturing Cuba’s landscapes, architecture, people, and customs. Each generation of artists focused on various tropes of Cuban identity, whether it was the tropical environment, the lights and colors of the island, certain human types, the fusion of European and African traditions, or the uprootedness produced by exile and resettlement in another country. Even when artists shed the attempt to represent their subject matter realistically, they sought to contribute to a longstanding national tradition in dialogue with a broader international scenario. The cumulative result of more than three centuries of Cuban art is a kaleidoscopic view of the island’s nature, population, culture, and history.
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40

Adesokan, Akinwumi. Postcolonial Artists and Global Aesthetics. Indiana University Press, 2011.

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41

Adesokan, Akinwumi. Postcolonial Artists and Global Aesthetics. Indiana University Press, 2011.

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42

Chew Sánchez, Martha I., and David Henderson, eds. Scattered Musics. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832368.001.0001.

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This book brings together eleven chapters on the musics of migrant and diaspora populations around the globe. Their authors are engaged with and sensitive to the nuances of struggles over identities and representations through musical expression, and they give account of some of the ways in which musicians, fans, promoters, and others use music and other media (including social media) to negotiate, transcend, or create solidarities with different normativities and nationalisms. How have diasporas transformed the musical expressions of their home countries as well as those in the host communities? How do musical performances provide a space for play in seeking to understand one’s identity? How do some communities recreate home away from home in musical performances, and how do some use music to critique and refine their senses of home? What are some of the ways in which musical performance can help reconstruct and redefine collective memory and a collective sense of place? With chapters by ethnomusicologists, sociologists, historians artists, and others, Scattered Musics is an interdisciplinary plunge into these questions.
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43

Ben Enwonwu:: Making of an African Modernist (Rochester Studies in African History and the Diaspora). University of Rochester Press, 2008.

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44

Fran, Lloyd, ed. Displacement & difference: Contemporary Arab visual culture in the diaspora. London: Saffron Books, 2001.

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45

Pabón-Colón, Jessica Nydia. Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora. NYU Press, 2018.

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46

Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora. NYU Press, 2018.

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47

Avilez, GerShun. Black Queer Freedom. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043376.001.0001.

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In this book, GerShun Avilez argues that queerness, here meaning same-sex desire and gender nonconformity, introduces the threat of injury and that artists throughout the Black diaspora use queer desire to negotiate spaces of injury. The space of injury does not necessarily pertain to a particular architecture or location; it concerns the perception and engagement of a body. Black queer bodies are perceived as social threats, and this perception results in threats (physical, psychological, socioeconomic) against these bodies. The space of injury describes the potential threat to queer bodies that lingers throughout the social world. Attending to such threats and challenging them constitute defining elements in Black queer artists’ work. In each of the two parts to the book, the author examines how perceptions of the Black queer body in different environments create uncertainty for that body and make it a contested space because of racial and sexual meaning. Part 1 focuses on movement through public space (through streets and across borders) and on how state-backed interruptions seek to inhibit queer bodies. Part 2 explores movement through institutional spaces (prisons and hospitals), which seek to expose the queer body to make it vulnerable to control. Ultimately, the book insists that desire and artistic production function as means to queer freedom when actual policies and legislation fail to ensure civic rights and social mobility.
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48

Covington-Ward, Yolanda, and Jeanette S. Jouili, eds. Embodying Black Religions in Africa and Its Diasporas. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478013112.

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The contributors to Embodying Black Religions in Africa and Its Diasporas investigate the complex intersections between the body, religious expression, and the construction and transformation of social relationships and political and economic power. Among other topics, the essays examine the dynamics of religious and racial identity among Brazilian Neo-Pentecostals; the significance of cloth coverings in Islamic practice in northern Nigeria; the ethics of socially engaged hip-hop lyrics by Black Muslim artists in Britain; ritual dance performances among Mama Tchamba devotees in Togo; and how Ifá practitioners from Mexico, Colombia, Venezuela, Trinidad, and the United States join together in a shared spiritual ethnicity. From possession and spirit-induced trembling to dance, the contributors outline how embodied religious practices are central to expressing and shaping interiority and spiritual lives, national and ethnic belonging, ways of knowing and techniques of healing, and sexual and gender politics. In this way, the body is a crucial site of religiously motivated social action for people of African descent. Contributors. Rachel Cantave, Youssef Carter, N. Fadeke Castor, Yolanda Covington-Ward, Casey Golomski, Elyan Jeanine Hill, Nathanael J. Homewood, Jeanette S. Jouili, Bertin M. Louis Jr., Camee Maddox-Wingfield, Aaron Montoya, Jacob K. Olupona, Elisha P. Renne
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49

Murchison, Gayle. New Paradigms in William Grant Still’s Blue Steel. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0008.

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This chapter examines the aesthetics underlying William Grant Still's Blue Steel and contextualizes it as a Harlem Renaissance work engaged with the African past and Still's diasporic present. Composed in 1934, Blue Steel was envisioned by Still as an African American opera—one that not only treated an African American subject, but was also rooted in African American and African diasporic culture—namely, its syncretic religion, voodoo or voudon. The chapter first takes a look at Still's first exposure to and early attempts at opera before discussing his collaborators in the creation of Blue Steel. It then provides a summary of Blue Steel's plot and characters as well as its use of African music for conceptual approaches to representing Africa and Africanness through musical signifiers. It also examines how voodoo became a means for Still to express himself as a Harlem Renaissance artist by functioning as a multifaceted signifier of African identity within the New World.
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50

Africa Art Market Report 2015: Global Africa Art Market Report 2015: African top Artists and Diaspora. CreateSpace Independent Publishing Platform, 2016.

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