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Journal articles on the topic 'Diasporic artists'
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1
Kyan, Winston. "The queer art of Yan Xing: Towards a global visual language of sex, desire and diaspora." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 157–75. http://dx.doi.org/10.1386/jcca_00060_1.
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This article discusses the work of Yan Xing, who has established an international career as a Chinese diaspora artist. This transnational identity, however, raises certain questions, including how Yan Xing’s work changed from when he lived in China to when he became a US resident in 2015, and how these changes differ from the globalized art of earlier diasporic Chinese artists. Accordingly, this article first argues that overt references in Yan Xing’s earlier work to sex and sexuality shift to an exploration of desire, truth and fiction in his later work that aligns with discourses on queer diasporas and minor theories. Secondly, this article argues that the new generation of Chinese diaspora artists live and work in a different political climate from the earlier generation of Chinese diaspora artists; the new generation works in an art world in which they are not exoticized objects, but actively participates in the making of a global visual language.
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Barak, Noa Avron. "The National, the Diasporic, and the Canonical: The Place of Diasporic Imagery in the Canon of Israeli National Art." Arts 9, no. 2 (March 26, 2020): 42. http://dx.doi.org/10.3390/arts9020042.
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This article explores Jerusalem-based art practice from the 1930s to the 1960s, focusing particularly on the German immigrant artists that dominated this field in that period. I describe the distinct aesthetics of this art and explain its role in the Zionist nation-building project. Although Jerusalem’s art scene participated significantly in creating a Jewish–Israeli national identity, it has been accorded little or no place in the canon of national art. Adopting a historiographic approach, I focus on the artist Mordecai Ardon and the activities of the New Bezalel School and the Jerusalem Artists Society. Examining texts and artworks associated with these institutions through the prism of migratory aesthetics, I claim that the art made by Jerusalem’s artists was rooted in their diasporic identities as East or Central European Jews, some German-born, others having settled in Germany as children or young adults. These diasporic identities were formed through their everyday lives as members of a Jewish diaspora in a host country—whether that be the Russian Empire, Poland, or Germany. Under their arrival in Palestine, however, the diasporic Jewish identities of these immigrants (many of whom were not initially Zionists) clashed with the Zionist–Jewish identity that was hegemonic in the nascent field of Israeli art. Ultimately, this friction would exclude the immigrants’ art from being inducted into the national art canon. This is misrepresentative, for, in reality, these artists greatly influenced the Zionist nation-building project. Despite participating in a number of key Zionist endeavours—whether that of establishing practical professions or cementing the young nation’s collective consciousness through graphic propaganda—they were marginalized in the artistic field. This exclusion, I claim, is rooted in the dynamics of canon formation in modern Western art, the canon of Israeli national art being one instance of these wider trends. Diasporic imagery could not be admitted into the Israeli canon because that canon was intrinsically connected with modern nationalism.
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Pan, Gaojie. "Art practices of the Chinese women diaspora: On cultural identity and gender modernity." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 45–68. http://dx.doi.org/10.1386/jcca_00055_1.
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Since the early twentieth century, Chinese women artists have emigrated to other countries. Their works are influenced and shaped by diaspora experiences, which vary across time phases. However, the world history of diasporic women is often lost in the larger historical narrative. As such, women diaspora artists also remain an under-represented segment in art realms, both within and outside of China. This is a case study of three Chinese diaspora women artists ‐ Pan Yuliang, Shen Yuan and Pixy Liao. Their works reveal engagement in cultural identity as well as gender identity through an autobiographical approach. For cultural identity, dynamic interaction between the culture of the artist’s homeland and that of her host country play a vital role throughout their art practices. Rather than using elements of typical Chinese cultural heritage, women artists tend to engage in cultural emblems, which connect to their personal-gendered experiences. Albeit confronting the double otherness on cultural and gender identity in a foreign country, the experience of diaspora pushes women artists to pursue independence, self-awakening and broader world-views. With modern conceptions of gender, their practices, particularly the family-theme, convey reflections on the conventional ideology of the family, as well as traditional gender roles.
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Zaarour, Meriem, Eman Mukattash, and Yousef Abu AwadAmrieh. "Coming of Age in the Arab Diasporic Künstlerroman: Sinan Antoon’s The Corpse Washer (2013) and Nada Awar Jarrar’s An Unsafe Haven (2016)." World Journal of English Language 13, no. 2 (January 13, 2023): 16. http://dx.doi.org/10.5430/wjel.v13n2p16.
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This study explores the künstlerroman from an Arab diasporic viewpoint. It aims to illuminate the first years of the formative process that the Arab diasporic artist undergoes in The Corpse Washer (2013) by Sinan Antoon and An Unsafe Haven (2016) by Nada Awar Jarrar as Arab diasporic künstlerromans. The article traces the childhood of Antoon’s Jawad and Jarrar’s Anas as young aspiring Arab artists against the backdrop of the novels’ socio-political contexts, which include religion, family, and the political conditions in the protagonists’ countries. Since Arab diasporic writers relocate the genre into an Arab transnational setting, this study draws attention to the violence and suffering in the lives of artists as children and the fact that they are brought up in an Arab household that does not feature in the traditional genre plot. It as well explores the environment the characters grow up in like social class and religious milieu and expounds on the way each character has seeds of artistic sensibility from a young age. The Arab characters face the issue of generational conflict about art as a proper career choice. Their parents play a role in the suppression of their artistic aspirations since they assume that they have a better-planned future for their children. Due to family expectations, religion, and political unrest, the characters have their future planned for them by others. The article concludes that the Arab diasporic künstlerroman provides alternative coming-of-age stories where the artist of Arab descent faces more challenges than his counterpart in the traditional genre.
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Barkai, Sigal. "Neo-Diasporic Israeli Artists: Multiple Forms of Belonging." International Journal of Social, Political and Community Agendas in the Arts 16, no. 3 (2021): 1–15. http://dx.doi.org/10.18848/2326-9960/cgp/v16i03/1-15.
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Alleyne, Osei. "Dancehall City: Zongo Identity and Jamaican Rude Performance in Ghanaian Popular Culture." African Studies Review 65, no. 1 (March 2022): 211–33. http://dx.doi.org/10.1017/asr.2021.147.
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AbstractThe explosion of Ghanaian Reggae-Dancehall reflects the influence of Jamaican-inspired popular culture in Ghana today. This subculture is championed by local Rastafarians and by youth from the zongos (internal migrant, largely Islamic, unplanned neighborhoods). Suffering social alienation, many zongo artists have adopted postures similar to their Jamaican counterparts—mirroring Rasta and rude identities as counter-hegemonic resistance. Alleyne explores several artists variously located between the zongo, the Reggae diaspora, and the Ghanaian state, examining how subjects rework Jamaican tropes and voice their aspirations within a globalizing Ghana and rethinking the zongo as space of rousing diasporic consciousness.
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Muyumba, Walton. "Artists in Residence." liquid blackness 5, no. 2 (October 1, 2021): 21–37. http://dx.doi.org/10.1215/26923874-9272752.
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Abstract Mixing criticism and memoir, “Artists in Residence” offers a rumination on improvisation and collaboration in visual art-making and contemporary jazz performance. The author meditates on the 2017 Unite the Right rally and Ryan Kelly's award-winning photographs of the event and considers how artists offer models for resisting anti-Black racism and white supremacy through collaborative practices. The author analyzes the documentary films Looks of a Lot and RFK in the Land of Apartheid and reviews exhibitions by Roy DeCarava and Jason Moran, highlighting the points of intersection between jazz musicianship and visual artistry. Finally, the essay argues that artists like Kara Walker, William Kentridge, and Yusef Komunyakaa create works that express the pleasure and pain of Black Diasporic experience through practices such as blues idiom improvisation and collage. The author presents criticism as a mode of personal writing.
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Pierre, Alix. "Creating transnational, intercultural arts’ interactions: African diasporic dialogues." Cultural and Pedagogical Inquiry 11, no. 3 (December 18, 2019): 36–51. http://dx.doi.org/10.18733/cpi29502.
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Painted with broad as well as, highly nuanced brush strokes, this is a comprehensive essay. Initially, it traces and later weaves within the larger discussion, the influences of Marcus Garvey’s philosophy and his lasting contributions to Africans in the diaspora. As importantly, the essay highlights the exceptional works of two Jamaican-born artists who reside in the USA. Thirdly, the essay explores some of the Miami-based Diaspora Vibe Cultural Arts Incubator’s, (DVCAI’s) intercultural exchanges, in which artists challenge dominant Western perspectives. Fourthly, the essay summarizes key aspects of DVCAI’s international cultural exchange in Jamaica. The recent, transcultural arts’ exchanges exemplify, reciprocal dialogues between the DVCAI’s representatives and the Jamaican arts community, specifically, with artists who adopt a Freirean pedagogy and focus on significant social justice issues in a postcolonial country.
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Holton, Delaney Chieyen. "Negotiating disappearance: Protective abstraction in Simon Liu’s quasi-protest trilogy." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 177–200. http://dx.doi.org/10.1386/jcca_00061_1.
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The simultaneous phenomena of the political upheaval in Hong Kong and Sinophobia in the United States produce a double bind for diasporic artists working about and between Hong Kong, China and the United States. Hong Kong diaspora filmmaker Simon Liu navigates this political landscape through experiments in abstract film as a medium for documenting protest and urban transformation sans spectacle. This article locates Liu’s work in the transnational matrix of Hong Kong’s post-colonial non-sovereignty and American Sino-diaspora politics to analyse the ways in which the filmmaker’s diasporic positioning necessitates abstraction and to demonstrate the potential of abstraction as an apparatus for geopolitically vulnerable subjects to continuously deconstruct and re-establish their subjectivity under political conditions that threaten their erasure. I posit that abstraction in Liu’s quasi-protest trilogy ‐ consisting of Signal 8, Happy Valley and Devil’s Peak ‐ offers a sensory orientation for finding blind spots between recognition and indecipherability, opening up new ways of documenting a crisis through the disarticulation of discrete events into atmospheric conditions.
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Ian Li, Emelia Ong, and Izmer Ahmad. "Hybridity as Expressions of a Diasporic Community: Selected Nanyang Artists." Malaysian Journal of Performing and Visual Arts 1, no. 1 (December 15, 2015): 52–70. http://dx.doi.org/10.22452/mjpva.vol1no1.4.
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Vikram, Anuradha. "Spectres of orientalism: Patty Chang and Chinese American art in the pandemic." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 353–85. http://dx.doi.org/10.1386/jcca_00071_1.
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This article addresses the work of Chinese American interdisciplinary artist Patty Chang over a 25-year period that begins with her groundbreaking short form videos in the 1990s, and considers transitional works in the mid-2000s that led the artist to create two major bodies of work connecting identity issues with climate change since 2009. I discuss Chang’s influence on subsequent generations of Chinese American and Asian American artists, her prescient use of online aesthetics and her complex engagement with the political, social and ecological realities of mainland China and neighbouring Uzbekistan. After contextualizing Chang’s influence through the lens of her inclusion in the group exhibition Wonderland with nine other Chinese Diasporic artists, I consider the impact of COVID-19 and anti-Asian violence in the United States and globally on the direction of Chang’s work and discuss the experience of curating her recent project during the pandemic shutdown.
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Bao, Hongwei. "The new generation: Contemporary Chinese art in the diaspora." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 3–17. http://dx.doi.org/10.1386/jcca_00053_2.
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This Special Issue of Journal of Contemporary Chinese Art focuses on the social significance and political relevance of diaspora Chinese art in the contemporary era. Although artists and authors may hold different stances towards Chinese and diaspora identities, their works and discussions showcase the importance of identity and identity-inflected art in contemporary times; they also demonstrate the productivity of treating Chinese diaspora art as a valuable subject of study in researching contemporary Chinese art. This editorial essay outlines the social and scholarly contexts related to a new generation of contemporary Chinese diaspora art and artists; it also introduces the structure and content of the Special Issue. The text is arranged in the following order: it first clarifies key words such as ‘diaspora’ and ‘Chinese diaspora’ and introduces scholarly debates surrounding these terms; it then briefly maps the study of contemporary Chinese art in a transnational and diasporic context to articulate the significance and scholarly contribution of the current issue. The essay ends with a mapping of the key topics and themes covered in this issue ‐ which have implications for the study of Chinese diaspora art overall ‐ and a brief outline of the key content and argument of each article.
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Bao, Hongwei. "Sharing food, vulnerability and intimacy in a global pandemic: The digital art of the Chinese diaspora in Europe." Journal of Contemporary Chinese Art 8, no. 2 (November 1, 2021): 129–45. http://dx.doi.org/10.1386/jcca_00041_1.
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This article examines the digital artworks created by three Chinese diaspora artists based in Europe: Berlin-based queer filmmaker Fan Popo’s short digital video Lerne Deutsch in meiner Küche (‘Learn German in my kitchen’), London-based performance artist Zeng Burong’s performance Non-Taster and London-based writer David K. S. Tse’s digital radio play The C Word. All three artworks were created in 2020 during the pandemic and all deal explicitly with the issues of anti-Asian racism and cross-cultural understanding. All these artworks also engage with issues of food and culinary practices. Through an analysis of the three artworks, I suggest that making digital art about food can serve as a creative and culturally sensitive strategy to engage with pandemic politics. Indeed, in an era of rising nationalism and international antagonism, diasporic Chinese artists have turned to seemingly mundane, apolitical and non-confrontational ways such as creating digital artworks about food to engage with the public about important social and political issues. This functions as a creative and culturally sensitive strategy to conduct social and political activism and to enhance cross-cultural understanding. It also showcases the political potential and social relevance of digital art for a pandemic and even a post-pandemic world.
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HERTZMAN, MARC ADAM. "A Brazilian Counterweight: Music, Intellectual Property and the African Diaspora in Rio de Janeiro (1910s–1930s)." Journal of Latin American Studies 41, no. 4 (November 2009): 695–722. http://dx.doi.org/10.1017/s0022216x09990563.
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AbstractThis article treats Tio Faustino, a little-known samba musician and Afro-Brazilian religious leader living in Rio de Janeiro, as an entry point for exploring larger questions about Brazil and the African Diaspora. The inquiry expands outward from Tio Faustino to Rio's early twentieth-century markets in ‘African’ commodities, the city's nascent music industry and the growing call to defend intellectual property rights in Brazil. In order to advance their careers, Tio Faustino and other artists accessed nationalist sentiment in ways that highlighted differences rather than commonalities with African-descended peoples elsewhere. In this way, Brazil's global standing and its colonial history and post-colonial trajectory functioned as a counterweight to transnational and diasporic connections. These findings deepen, rather than completely unseat, recent trends in diaspora and transnational studies.
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Ashton, Jenna C. "The Mothers of Tiananmen: Curating Social Justice." Journal of Curatorial Studies 10, no. 2 (October 1, 2021): 230–46. http://dx.doi.org/10.1386/jcs_00044_7.
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Focusing on the activist exhibition The Mothers of Tiananmen (2019), this article examines my methodology of curating for social action and justice using international collaboration and participatory arts-as-research. The exhibition responded to the ongoing campaign for justice for the victims and survivors of the Tiananmen Square Massacre, as well as sought to support women’s creative resistance and voice. The Mothers of Tiananmen was co-created with artist Mei Yuk Wong, the 64 Museum (Hong Kong), and artists participating in the Centre for International Women Artists (Manchester). The context for the exhibition is the city of Manchester, which has one of the highest Chinese populations in England, along with a diverse international demographic with over 200 languages spoken. Through this case study, curating is presented as a creative and critical tool by which to respond to the range of justice and activist concerns of international and diasporic communities.
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Churchill, Suzanne W. "“The Whole Ensemble”: Gwendolyn Bennett, Josephine Baker, and Interartistic Exchange in Black American Modernism." Humanities 11, no. 4 (June 21, 2022): 74. http://dx.doi.org/10.3390/h11040074.
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Since her debut in Paris in 1925 and meteoric rise to stardom, views of Josephine Baker have been dominated by the white artists and audiences who constructed her as an exotic “Other”. This article revisits the phenomenon of “La Bakaire” from the perspective of a Black female artist who witnessed her performance first-hand and participated in the same Jazz Age projects of fashioning New Negro womanhood and formulating Black Deco aesthetics. When Gwendolyn Bennett saw Baker perform, she recognized her as a familiar model of selfhood, fellow artist, and member of a diasporic Black cultural community. In her article “Let’s Go: In Gay Paree”, July 1926 Opportunity cover, and “Ebony Flute” column, she utilizes call and response patterns to transform racialized sexual objectification into collective affirmation of Black female beauty and artistry. The picture that emerges from Bennett’s art and writing is one of communal practices and interartistic expression, in which Baker joins a host of now-forgotten chorus girls, vaudeville actors, jazz singers, musicians, visual artists, and writers participating in a modern renaissance of Black expressive culture.
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Laurent-Perrault, Evelyne. "Arturo Alfonso Schomburg, the Quintessential Maroon: Toward an African Diasporic Epistemology." Small Axe: A Caribbean Journal of Criticism 24, no. 1 (March 1, 2020): 132–41. http://dx.doi.org/10.1215/07990537-8190674.
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This essay engages Vanessa K. Valdés’s Diasporic Blackness: The Life and Times of Arturo Alfonso Schomburg. It traces Valdés’s main contributions and notes that her work invites readers to expand their views of Schomburg’s Afro-Caribbean/Latinx/Latin American identity and his complex personality, as well as his relentless but gentle commitment to advancing black liberation. Following Saidiya Hartman’s strategy of “critical fabulation” to highlight previously silenced Afro-Epistemes, the author dwells on Schomburg’s childhood, life commitment, and legacies. Part of the essay’s purpose is to sketch the transnational community of formerly enslaved and free men and women from whom Schomburg inherited what the author calls his Maroon political consciousness. The essay also emphasizes how Valdés invites African diaspora scholars, activists, educators, artists, and so on to reflect on and trouble preconceived ideas about Maroon subjectivity, marronage, and Africa. It concludes by imagining ways Schomburg would engage our present.
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Machida, Margo L. "Pacific Itineraries: Islands and Oceanic Imaginaries in Contemporary Asian American Art." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 9–34. http://dx.doi.org/10.1163/23523085-00302002.
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This essay focuses on the Asia Pacific region and selected works by contemporaryus-based Asian American artists that engage shared themes of trans-Pacific journeys, circulation, conflict, and convergence between Asian diasporic, Indigenous, and other groups. The Pacific, with more islands than the world’s other oceans combined, is above all an island realm. Accordingly islands and associated oceanic imaginaries exert a powerful hold on works by artists who trace their ancestral origins to coastal East and Southeast Asia and Oceania. These artists’ endeavours underscore the idea of islands as multi-located historic and affective subjects within global systems of cross-cultural exchange. Through the different levels of focalization they provide, the featured artworks render insights into the formation of complex, multiple points of attachment as contemporary artists cross and re-cross borders: physical, temporal, and psychic.
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Krakowska Rodrigues, Kamila. "Storytelling nights: Performing (post)memory of Cape Verdean migration to Rotterdam." Crossings: Journal of Migration & Culture 13, no. 1 (April 1, 2022): 107–21. http://dx.doi.org/10.1386/cjmc_00059_1.
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The Cape Verdean community in Rotterdam (the third biggest Cape Verdean diaspora in the world) have left a clear imprint on Rotterdam’s culture especially in terms of music production. Recently, this cultural and historical legacy has been gaining more recognition. In the field of performing arts, which constitute a relevant aspect of the urban nightlife (when not impacted by the current COVID-19 restrictions), the stories of migration circulating among the community have inspired Dutch-Cape Verdean artists to create thought-provoking plays on diasporic identity negotiations and belonging. In this regard, two theatre storytelling pieces by second-generation Dutch-Cape Verdean female artists, Lena Évora’s Muziek en Verhalen uit Mijn Geboorteland (‘Music and stories from my homeland’) (2018) and Sonya Dias’s Het Verhaal van Mijn Moeder (‘The story of my mother’) (2017), engage with the notions of ‘home’ and ‘story’ in a particularly thought-provoking way, especially in what concerns night aesthetics. By close reading these two plays within the framework of Diaspora and Critical Archival Studies, this article aims to address how arts play a role in creating imaginary records of Cape Verdean migration history and contribute towards a more inclusive recognition of Rotterdam’s multicultural social texture and its nightlife.
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Balme, Christopher, and Astrid Carstensen. "Home Fires: Creating a Pacific Theatre in the Diaspora." Theatre Research International 26, no. 1 (March 2001): 35–46. http://dx.doi.org/10.1017/s0307883301000049.
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Theatre created by Pacific Islanders is perhaps the most recent significant development in New Zealand theatre of the 1990s. Exploring this new phenomenon within a concept of diaspora, productions, producers and themes are linked to notions of displacement, home, and disruption on several levels. Three recent plays and productions are examined: Think of a Garden by the Samoan-American John Kneubuhl, which explores memory as the basis of diasporic identity; Home Fires, a collaborative production between Pacific Island and Ma°ori artists in which a new kind of syncretic theatrical style transcending specific cultural codes was developed; and Tatau – Rites of Passage, a performance created by the Christchurch-based group Pacific Underground and the Australian community theatre group Zeal Theatre which explores the notion of ritual reincorporation – involving actual tattooing on stage – as a means of transcending diaspora and repairing the ruptures caused by it.
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Gao, Shiyu, and Lisa Chang Lee. "The algorithm of nature in the age of global health and environmental crisis." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 239–47. http://dx.doi.org/10.1386/jcca_00064_7.
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The London-based multimedia artist Lisa Chang Lee, born in Beijing, China, is a representative example of exploring alternative identification in the context of the global health and environmental crisis. The conversation focuses on her artistic experiments with algorithms and digital technologies to transcend established norms of ‘Chineseness’ culturally and artistically. Gao Shiyu will investigate Lee’s projects to question the binary distinctions between humans and non-humans, nature and culture, the East and the West. The discussion intends to show a shift in the new generation of diasporic Chinese artists’ creative practices and challenge the tendency in contemporary Chinese art criticism that locates these works in large-scale, systemic and political ways.
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Philogene, Jerry. "Visual Narratives of Cultural Memory and Diasporic Identities: Two Contemporary Haitian American Artists." Small Axe: A Caribbean Journal of Criticism 16 (September 2004): 84–99. http://dx.doi.org/10.2979/sax.2004.-.16.84.
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NA, Christina Ayson. "Counter-Producing National Narratives Filipina Diasporic Artists Challenge the Global Health Care System." Social Transformations: Journal of the Global South 9, no. 2 (January 4, 2022): 15–39. http://dx.doi.org/10.13185/stjgs2021.09203.
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Philogene, J. "Visual Narratives of Cultural Memory and Diasporic Identities: Two Contemporary Haitian American Artists." Small Axe: A Caribbean Journal of Criticism 8, no. 2 (January 1, 2004): 84–99. http://dx.doi.org/10.1215/-8-2-84.
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Wood, Emma. ""In her prophetic fury sewed the work": Remembering Sybil's Handkerchief and Magical Artistries in Djanet Sears' Harlem Duet." tba: Journal of Art, Media, and Visual Culture 3, no. 1 (November 30, 2021): 174–83. http://dx.doi.org/10.5206/tba.v3i1.13917.
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This paper examines the history of black women artistries, postcolonial magic, and music within Canadian playwright Djanet Sears’ 1997 Toronto production Harlem Duet. In a modern re-adaptation of Shakespeare’s Othello, Sears’ Harlem Duet resituates literary historical symbols, like the infamous handkerchief, and Shakespearean hidden characters within a diasporic and empowered space of agency, intergenerational trauma, and reclamation. With the maternal theoretical foundation of Alice Walker’s work “In Search of Our Mothers’ Gardens,” this paper matrilineally connects Harlem Duet’s protagonist Billie with the artistic creator – the sybil/witch – of Shakespeare’s handkerchief and with famous blues artists like Billie Holiday. Using the handkerchief as a starting point, this paper analyzes both fictional and historical maternal generations in order to demonstrate this empowered history of artistic creation and music within diasporic spaces and communities.
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Watson, Vaughn W. M., and Michelle G. Knight-Manuel. "Humanizing the Black Immigrant Body: Envisioning Diaspora Literacies of Youth and Young Adults from West African Countries." Teachers College Record: The Voice of Scholarship in Education 122, no. 13 (April 2020): 1–28. http://dx.doi.org/10.1177/016146812012201304.
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Background/Context This conceptual essay contributes to recent education research on immigrant youth from West African countries that examines the interplay of popularized narratives of immigrant youth and young adults, and their Diasporic literacy practices. Specifically, we examine embodied Diaspora literacies as affirming and extending presences and absences of Black immigrant bodies across two contexts: an after-school African Club, and a qualitative inquiry of civic learning and action-taking of immigrant youth and young adults from West African countries. Purpose We theorize in this conceptual essay the interplay of the humanity of Black immigrant youth and young adults and their embodied Diaspora literacy practices. We highlight possibilities for research, literacy teaching, and teacher education when intentionally naming, affirming, and building with the humanity of Black immigrant youth and young adults from West African countries—what we conceptualize as humanizing the Black immigrant body. We conceptualize humanizing the Black immigrant body as an enacting of embodied Diaspora literacies. In theorizing embodied Diaspora literacies, we build with African Indigenous lensings, and African, Black, and Chicana/Latina feminisms. We further contextualize humanizing the Black immigrant body as an enacting of embodied Diaspora literacies expressed in the creative and artistic practices and artifacts of artists, literary authors, playwrights, and youth and young adults who have long authored and told narratives that affirm, extend, and historicize the strengths of Black immigrant communities. Interpretive Analysis We highlight in this conceptual essay the urgency of humanizing the Black immigrant body across four moments, or tellings of embodied Diaspora literacies. Our use of Diasporic tellings, an intentional naming and humanizing research approach, draws on the words of Chinua Achebe, the Nigerian author who refected on the urgency of a global “balance of stories.” We examine four Diasporic tellings: (1) youth in an African Club in a high school in New York City attending an off-Broadway play authored by a daughter of Ghanaian immigrants, (2) participating in a group discussion following the play, and (3) engaging in Youth Participatory Action Research inquiries; and (4) youth and young adults from West African countries discussing their creative and artistic embodied Diaspora literacies, and civic learning and action-taking across contexts of peers, schooling, and families. Conclusion / Recommendations We theorize humanizing the Black immigrant body as a vibrant, necessary research and teaching stance to recognize the humanity of Black immigrant youth who daily negotiate and render visible their language and literacy practices. These practices comprise the coalescing of Black immigrant bodies, discursive perspectives, and material artifacts of teaching and learning, and their racialized, social, and educational experiences across contexts of schools and communities. These Diasporic tellings provide important insights for productive approaches in research, teaching, and teacher education with youth and young adults making sense of the lives of Black immigrants, across contexts of literacy learning and lived experiences that meaningfully recognize the humanity of Black immigrant youth from West African countries.
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Antoinette, Michelle. "Monstrous Territories, Queer Propositions: Negotiating The Asia Pacific Triennial of Contemporary Art, between Australia, the Philippines, and Other (Island) Worlds." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 54–85. http://dx.doi.org/10.1163/23523085-00302004.
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For the 8th Asia Pacific Triennial of Contemporary Art (apt) (2015–16), Sydney-based artists Justin Shoulder and Bhenji Ra collaborated to present Ex Nilalang, a series of filmic and live portraits exploring Philippine mythology and marginalized identities. The artists’ shared Filipino ancestry, attachments to the Filipino diasporic community, and investigations into “Philippine-ness” offer obvious cultural connections to the “Asia Pacific” concerns of the apt. However, their aesthetic interests in inhabiting fictional spaces marked by the “fantastic” and the “monstrous”—alongside the lived reality of their critical queer positions and life politics—complicate any straightforward identification. If the Philippine archipelago and island continent of Australia are intersecting cultural contexts for their art, the artists’ queering of identity in art and life emphasizes a range of cultural orientations informing subjectivities, always under negotiation and transformation, and at once both the product of and in excess of these (island) territories.
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Corey, Pamela N. "Beyond Yet Toward Representation: Diasporic Artists and Craft as Conceptualism in Contemporary Southeast Asia." Journal of Modern Craft 9, no. 2 (May 3, 2016): 161–81. http://dx.doi.org/10.1080/17496772.2016.1205279.
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Goffe, Tao Leigh. "Sugarwork: The Gastropoetics of Afro-Asia After the Plantation." Asian Diasporic Visual Cultures and the Americas 5, no. 1-2 (April 11, 2019): 31–56. http://dx.doi.org/10.1163/23523085-00501003.
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The politics and the poetics of sugar and its production have long connected African and Asian diasporas as the material legacy of the Caribbean plantation. This article considers the repurposing of sugar as art and the aesthetic of artists of Afro-Chinese descent, Andrea Chung and Mara Magdalena Campos-Pons. Part of a diasporic tradition of employing sugar as a medium that I call sugarwork, their artwork evokes the colonial entanglements of nutrition and labour on the plantation, centered in the belly. The womb makes, and the stomach unmakes. This practice, employing the materiality of foodstuffs, is part of a gastropoetics, wherein centering the sensorium opens alternative forms of knowledge production to the European colonial archive. As the descendants of enslaved Africans and indentured Chinese, Campos-Pons and Chung metabolize sugar in ways that grapple with the futurity of the plantation to form a new intertwined genealogy of black and Chinese womanhood.
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Marcos, Patrícia Martins. "Blackness out of Place." Radical History Review 2022, no. 144 (October 1, 2022): 106–30. http://dx.doi.org/10.1215/01636545-9847830.
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Abstract This article explores how historical narratives and aesthetic models configuring Portuguese imperial visuality produced the absented presence of Africa and its diasporas. Despite centuries of interconnected histories of colonial domination and enslavement, but also marronage and resistance, Black subjecthood was reduced in Portugal to a “foreign” presence. These silences ossify a regime of imperial visuality premised on the hegemonic overrepresentation of white masculinity—rendered through depictions of “navigators” as paragons of historical agency. Through the analytic countervisual quilombismo, this essay confronts such elisions by engaging with Achille Mbembe’s Afropolitan call to “produce new images for thought.” Focus on countervisual maroon (quilombismo) methods of refusal and fugitivity reveals the enactment of Black sovereignty and affirms Blackness as being. By affirming Black life and autonomy, diasporic artists, performers, and everyday people interrupt colonial frames, refusing the ethnographic reduction of Blackness to a body and its classificatory markers, thus revealing possibilities for different pasts, presents, and futures.
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Luca, Ioana. "Transnationalizing Memories of Post/Socialism: Diasporic Graphic Lives." Comparative Literature Studies 59, no. 3 (August 1, 2022): 568–89. http://dx.doi.org/10.5325/complitstudies.59.3.0568.
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ABSTRACT The article focuses on The Wall: Growing Up Behind the Iron Curtain (Peter Sís, 2007) and Marzi (Sylvain Savoia and Marzena Sowa, 2004–2017), two widely translated autobiographical comics written in English and French, respectively, as an entry point into the afterlives of European state socialisms in global contexts. The author examines how Sís, a Czech-born illustrator and children book author, who defected to the United States, and Sowa, a Polish-born writer who left for France, remember their lives under state socialism, and how they make them legible to present-day transgenerational and transnational audiences. The author explores how comics, specifically the seriality, multimodality, and the meanings created at the intersection of texts and images, undermine the cultural scripts which inform the narratives of these two diasporic artists. By focusing on paratextual elements, the author also demonstrates that the transnational trajectories of the two works are path-dependent on mainstream tropes about state socialism. Lastly, given that the two comics feature internationally in school curricula and are adopted by teachers as important methodological tools, the author argues for the crucial importance of comics and life writing pedagogy when teaching graphic autobiographies about post/socialism.
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Coloma, Roland Sintos. "Queering Asian Canada: Troubling Family, Generation, and Community." Asian Diasporic Visual Cultures and the Americas 4, no. 1-2 (March 4, 2018): 89–113. http://dx.doi.org/10.1163/23523085-00401005.
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This article argues that a queer perspective on Asian Canadian studies can open new inquiries and simultaneously trouble the centrality of family, generation, and community in documenting and examining racialized minority and diasporic groups. By rethinking these analytical concepts through queer possibilities and interventions, research into Asian Canada can become more inclusive and transgressive, and can foreground alternative queer kinships which exceed heteropatriarchal bloodlines, filial relations, and co-ethnic singularities. Putting forth counter-histories of racialized and diasporic sexualities, this article builds upon and complements archival research on lesbian, gay, bisexual, and transgender Asian Canadians, and turns to artists and cultural workers who offer rich historical and contemporary representations of queer Asian Canada. In particular, it examines the 2015 film It Runs in the Family by Joella Cabalu, the 2016 film Re:Orientations by Richard Fung, and the 2016 exhibition Not a Place on a Map: The Desh Pardesh Project curated by Anna Malla.
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Mohabir, Nalini. "Kala Pani: Aesthetic Deathscapes and the Flow of Water after Indenture." Asian Diasporic Visual Cultures and the Americas 5, no. 3 (December 5, 2019): 293–314. http://dx.doi.org/10.1163/23523085-00503003.
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This article focuses on the kala pani (dark waters) as a deathscape particular to indentured labourers and their descendants. Following a historical discussion of representations of the kala pani, the author turns to contemporary artists Maya Mackrandilal and Andil Gosine to explore how their artistic engagements are rerouting the flows of the kala pani away from discourses of caste stigma or the finality of (social) death to a reckoning of past and future time for those living in the diasporic space of North America.
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Son, Hijoo. "The Diasporic Intimacy and Transindividuality of Artists Himan Sŏk (1914–2003) and Jun Ch'ae (1926–)." Cross-Currents: East Asian History and Culture Review 8, no. 1 (2019): 68–94. http://dx.doi.org/10.1353/ach.2019.0003.
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Kuehn, Sara. "Contemporary Art and Sufi Aesthetics in European Contexts." Religions 14, no. 2 (February 2, 2023): 196. http://dx.doi.org/10.3390/rel14020196.
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This article examines the work of seven contemporary artists whose aesthetics exemplify the “lived” experience of Islamic mysticism or Sufism (Arabic tasawwuf) within a European context. The work of artists born in Islamic majority countries and familiar with “traditional” Sufi idioms and discourses, but now immersed in Western culture, is often associated with “diasporic art”. From this hybrid perspective some of their artistic narratives reconfigure or even subvert the “traditional” Sufi idioms, and do so in such a way as to provoke a more profound sensory experience in the viewer than traditional forms of art. Drawing upon on recent methodological tendencies inspired by the “aesthetic turn”, this study explores post- and decolonial ways of thinking about Sufi-inspired artworks, and the development of a transcultural Sufi-inspired aesthetic within the context of migration and displacement over the last half-century.
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MUSSER, JORDAN. "The Avant-Garde is in the Audience: On the Popular Avant-Gardism of Linton Kwesi Johnson's Dub Poetry." Twentieth-Century Music 16, no. 3 (September 12, 2019): 457–99. http://dx.doi.org/10.1017/s147857221900029x.
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AbstractThis article presents a historical study of black British poet and recording artist Linton Kwesi Johnson. Drawing on archival research, I argue that Johnson's hybrid literary and reggae-based practice, known as ‘dub poetry’, offers fresh insight into the status of ‘the popular’ in histories and theories of the avant-garde, and of black avant-gardism specifically. I begin by discussing Johnson's participation in the Caribbean Artists Movement, a hub for diasporic arts in 1960–70s London, whereupon I show how dub poetry transposed the ideas of Johnson's colleague, pan-African Marxist C. L. R. James, in simultaneously documenting and instigating grassroots efforts at community centres where Johnson worked, notably the Race Today Collective. I contend that Johnson forged a cultural programme that paralleled James's well-known rejection of the elitist model of the political vanguard: Johnson furnished a ‘popular avant-garde’, as I call it, whose community-oriented ethos was realized via popular media like the LP and mass-democratic – populist – action campaigns.
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Carr, Jane, and Deborah Baddoo. "Dance, Diaspora and the Role of the Archives: A Dialogic Reflection upon the Black Dance Archives Project (UK)." Dance Research 38, no. 1 (May 2020): 65–81. http://dx.doi.org/10.3366/drs.2020.0291.
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The Black Dance Archives project collected materials that record the activities of black British artists who created and performed dance predominantly in the later years of the twentieth century. Through the form of a dialogue we bring the perspective of the dance producer who led the project together with a more academic interest in the potential of the materials collected to contribute to dance research. Our shared reflections reveal how a focus on archiving the work of dance artists of diasporic heritage emphasises that dance, as a form of intangible cultural heritage, is particularly vulnerable to becoming lost to future generations. This leads to reflections upon the role of dance archives within the context of post-colonial Britain that brings to the fore some of the complexities of the archival process and the significance of how this project resulted in materials being dispersed across different institutions.
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Lovatt, Anna. "An underground economy." Journal of the History of Collections 32, no. 3 (January 27, 2020): 573–83. http://dx.doi.org/10.1093/jhc/fhz035.
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Abstract The art collection of the German–American sculptor Ruth Vollmer (1903–1982) consisted primarily of gifts or exchanges with other artists, which were meticulously arranged in her New York apartment. Provisional and eccentric, these objects were often anomalous in the practices of the artists who produced them, and were not necessarily intended for public display. Drawing on sociologist David Cheal’s description of the gift economy as ‘a system of action which is characterized by the principle of redundancy’, this article argues that the objects collected by Vollmer were doubly ‘redundant’, being playful or throwaway experiments that were recuperated as gifts. Despite their marginal status in art history, however, the objects Vollmer collected can be interpreted as manifestations of the interpersonal relationships that she cultivated in her own artistic practice, and in the diasporic ‘salons’ she hosted at her home in the aftermath of World War II.
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Willard, Tania. "Surfacing, Voicing and Signalling Freedom in Relational Performance: Cheryl L’Hirondelle and Camille Turner’s Freedom Tours." Public 32, no. 64 (December 1, 2021): 23–31. http://dx.doi.org/10.1386/public_00069_1.
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The marking of colonial narratives mapped as histories onto Canada are reinforced on almost every boat, train, or rail tour in Canada. In Freedom Tours (2017) for LandMarks2017/Répéres2017, by artists Cheryl L’Hirondelle and Camille Turner the artists disrupted these entrenched histories hosting two sailings with tour narration. Thes narrated tours featured narratives that stemmed from Cree worldview and Caribbean diasporic perspectives. In L’Hirondelle and Turner’s work they built an architecture of songs unsung and stories untold in a temporal space- a boat tour in the waters in and around the Thousand Islands National Park. In this text I revisit the process of working with these artists to reveal the ways in which their work while being joyous also signaled the ways in which colonial histories drown out Indigenous, Black and People of Colour narratives in Canada. The historic settler alteration of waterways and borders within the Thousand Islands National Park has meant that some islands, previously visited by Indigenous people to harvest maple sap, are no longer above water. In this paper I want to be that island resurfacing sweet syrup, rising in these unstable waters to offer truths to Canada’s colonial narrative.
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Clarissa, Clò, and Fiore Teresa. "Unlikely Connections: Italy’s Cultural Formations between Home and the Diaspora." Diaspora: A Journal of Transnational Studies 10, no. 3 (December 2001): 415–41. http://dx.doi.org/10.3138/diaspora.10.3.415.
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Movements of people and exchanges among them have been crucial in the characterization of societies. Different cultures have understood and regarded migrants differently, depending on the historical conditions, material and discursive, in which these movements occurred and on the attitudes of both sending and receiving states. It is, indeed, through the lens of the nation-state and of individual national histories that migrations and diasporas have mostly been approached. This model, however, does not allow for a more comprehensive understanding of people’s traveling and resettling across space and time, which both predate and go beyond the boundaries imposed by the emergence of modern states. Furthermore, the national model of migration does not adequately take into account all the human components that these travels entail—for example, the ways in which migrants themselves contribute to the shaping of the societies they leave and to the ones they enter into. In this essay, we use the term “migrants” to refer to a wide range of groups, whose decisions to move were prompted by different reasons: internal and external labor migrants, explorers, colonizers, ex-colonized, merchants, artists, intellectuals, and so on. In the process of moving and relocating, all these communities collectively generate, along with the locals, new cultural formations: ideas, collaborations, subjectivities, as well as social and political institutions, which are situated between and across, and simultaneously encompass, “home” and “abroad.” These cultural formations constitute an integral part of the diasporic experiences inscribed within a global set of connections. In this study, we privilege the analysis of the relation among migrants and their cultural productions, and pay specific attention to “unlikely connections” among diverse diasporas. This approach, based on unusual linkages among separate disciplines, migrant groups, historical periods, and geographical locations, allows us to identify and participate in the process of reframing the content and methodology of Diaspora Studies.
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Dutchak, Violetta. "PRINCIPLES OF LITERATURE AND MUSICAL ART INTERACTION OF THE UKRAINIAN DIASPORA DURING THE XX – EARLY XXI CENTURY." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 186–93. http://dx.doi.org/10.25264/2409-6806-2020-31-186-193.
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The study presents the methodological foundations analysis of the interaction between music and literature of the Ukrainian diaspora in the period of XX – early XXI century. In particular, the article offers an example of analysis of such interaction on the example of Ukrainian diaspora bandura art. Fundamental in the methodological analysis of the art interaction, and in particular literature and music, are the forms of emigrant (diasporic) worldview – conservative (traditional), synthesizing (unifying), and transforming (experimental). They are manifested in various forms of foreign artists’ creative activity – editing (restoration) of ancient genres, their modification and metamorphosis. The concept of “meta-art” was used as the main methodological basis for the music and literature interaction analysis, which is aimed at finding mechanisms for a comprehensive analysis of the Ukrainian diaspora art within the historical stages (according to emigration waves) and within the territorial settlements that found its reflection in figurative-thematic, value-aesthetic, genre, stylistic priorities of artists and interpretation of their ideas and meanings. The levels of literature and musical art interaction are considered by the author of the article on the inclusion samples in the bandura repertoire of various genres arrangements of folklore, religious and spiritual creativity, “shevchenkiana”, and works based on the Ukrainian poems of the XIX – XX centuries. Among the musical and folklore samples are epos (dumas, historical songs), domestic, humorous, lyrical songs, and the latest genres of works of the liberation struggle – songs of Sich riflemen, rebel songs. Among the spiritual and religious works are psalms and chants, kolyadkas and shchedrivkas, as well as religious and liturgical compositions by D. Bortnyansky, A. Hnatyshyn, M. Haivoronsky, M. Lysenko, D. Sichynsky, and other works arranged for bandura ensembles or chapels. Shevchenkiana bandura repertoire includes arrangements of folk songs and author’s works based on T. Shevchenko’s poems for solo bandura players and ensembles, recorded in music editions and sound recordings. Examples of cooperation between composers and poets in bandura art (in particular, H. Kytasty and I. Bahriany) are analyzed separately.
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Graham, Janet. "Vietnamese refugee journeys and the fallacy of certainty." Crossings: Journal of Migration & Culture 13, no. 2 (October 1, 2022): 203–16. http://dx.doi.org/10.1386/cjmc_00065_1.
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Vietnamese diasporic refugee narratives critically engage images of helicopter rescues and crowded boats that saturate American-mediated memories of war’s aftermath. From a critical refugee studies perspective, Yến Lê Espiritu links war to displacement through these images to define the United States as a ‘militarized refuge’. For Mimi Nguyen, arrival initiates a ‘gift of freedom’ that names the indebtedness of the refugee to the state. In their critical engagements, arrival initiates debt for militarized refugees. To further their work, I problematize the celebration of arrival with what I call the fallacy of certainty. To dismantle the certainty of arrival, I examine expressions of what Vinh Nguyen calls ‘refugeetude’ in depictions of refugee journeys by Ocean Vuong, G. B. Tran, Nam Le and Matt Huynh. Employing Espiritu’s method of ‘critical juxtapositioning’, I engage Édouard Glissant’s relationality of the abyss and the opacity of the open boat to contextualize forced migration narratives within a longue durée of imperialism that Aníbal Quijano calls coloniality. Ending with Long Bui’s discussion of a postmemory generation of Vietnamese diasporic artists and writers’ use of performativity, I show how they forward critical refugee studies when they imaginatively return to the journey, articulating relationalities that cross oceans and temporalities.
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Lavan, Makeba. "Teaching Afrofuturisms as American Cultural Studies." Radical Teacher 122 (April 28, 2022): 52–63. http://dx.doi.org/10.5195/rt.2022.936.
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Kodwo Eshun asserts that “Afrofuturism studies the appeals that black artists, musicians, critics, and writers have made to the future, in moments where any future was made difficult for them to imagine.” Afrofuturism allows African diasporic writers to imagine new and alternate cultural elements in hopes that these will take root in the collective consciousness and shift the cultural paradigm towards true citizenship and equity. It is this main idea that we explored over two semesters (spring 2020 and Spring 2021) of classes taught online in the wake of brutal state sanctioned murders, subsequent uprisings and a global pandemic. As we learned to maneuver these changes, students facilitated lateral learning across discussion groups and questions, asynchronous group meetings, and collaborations with other classes in a class modeled after the Black Radical Tradition.
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Taylor, Lauren. "Introduction to Alioune Diop's “Art and Peace” (1966)." ARTMargins 9, no. 3 (October 2020): 87–96. http://dx.doi.org/10.1162/artm_a_00274.
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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.
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Diop, Alioune. "Art and Peace (1966)." ARTMargins 9, no. 3 (October 2020): 97–100. http://dx.doi.org/10.1162/artm_a_00275.
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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.
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Aterianus-Owanga, Alice. "Dancing an Open Africanity: Playing with “Tradition” and Identity in the Spreading of Sabar in Europe." Open Cultural Studies 3, no. 1 (January 1, 2019): 347–61. http://dx.doi.org/10.1515/culture-2019-0030.
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Abstract This paper describes one of the constructions of African identity that occur through the spreading of sabar in European cities. Basing on a multi-sited fieldwork between Dakar, France and Switzerland, this paper traces the local roots and transnational routes of this Senegalese dance and music performance and presents the “transnational social field” (Levitt and Glick-Schiller) that sabar musicians and dancers have created in Europe. It analyses the representations of Africanity, Senegality and Blackness that are shared in Sabar dances classes, and describes how diasporic artists contribute to (re)invent “traditions” in migration. In this transnational dance world, “blackness” and Africanity are not homogenous and convertible categories of identification, on the contrary, they are made of many tensions and arrangements, which allow individuals to include or exclude otherness, depending on situations and contexts.
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Aghoro, Nathalie. "Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe." Open Cultural Studies 2, no. 1 (November 1, 2018): 330–40. http://dx.doi.org/10.1515/culture-2018-0030.
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Abstract This article discusses the visual, textual, and musical aesthetics of selected concept albums (Vinyl/CD) by Afrofuturist musicians Erykah Badu and Janelle Monae. It explores how the artists design alternate projections of world/subject relations through the development of artistic personas with speculative background narratives and the fictional emplacement of their music within alternate cultural imaginaries. It seeks to establish that both Erykah Badu and Janelle Monae use the concept album as a platform to constitute their Afrofuturist artistic personas as fluid black female agents who are continuously in the process of becoming, evolving, and changing. They reinscribe instances of othering and exclusion by associating these with science fiction tropes of extraterrestrial, alien lives to express topical sociocultural criticism and promote social change in the context of contemporary U.S. American politics and black diasporic experience.
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Diaz, Robert. "The Ruse of Respectability: Familial Attachments and Queer Filipino Canadian Critique." Asian Diasporic Visual Cultures and the Americas 4, no. 1-2 (March 4, 2018): 114–36. http://dx.doi.org/10.1163/23523085-00401006.
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This article focuses on queer Filipino artists who deploy familial memories to produce important knowledge around what it means to be queer, racialized, and diasporic in Canada. Through Patrick Salvani’s drag showSarap(2017) and Casey Mecija’s short filmMy Father, Francis(2013), the author tracks how familial memories expose the contradictions inherent in being sexually and racially marginalized within this multicultural, settler colonial space.SarapandMy Father, Francisactivate various scenes of domesticity to disturb the teleological tropes with which the private and the public have been institutionally compartmentalized. Both also offer examples of Filipino Canadian critique that resist the assimilationary ruse of respectability through economic value and ideological worth. These works reorganize the meaning of “finding happiness,” not by drawing from overwrought narratives of familial “inclusion,” but by mining the complex affects that often emanate from the histories, burdens, and pains of family members.
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Mar, Eric, Jensine Carreon, Wei Ming Dariotis, Russell Jeung, Philip Nguyen, and Isabelle Pelaud. "Serve the People! Asian American Studies at Fifty: Empowerment and Critical Community Service Learning at San Francisco State University." AAPI Nexus Journal: Policy, Practice, and Community 16, no. 1-2 (September 23, 2019): 111–36. http://dx.doi.org/10.36650/nexus16.1-2_111-136_maretal.
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This essay reflects on five decades of growth of the nation’s first Asian American Studies Department at San Francisco State University (SFSU AAS), focusing on its primary commitment to community empowerment and critical “community service learning” (CSL) and also highlighting past and present struggles, challenges, and innovations. This collectively written analysis summarizes SFSU AAS departmental approaches to CSL and community-based participatory research and highlights two case studies: (1) refugees from Burma community health needs research and advocacy in Oakland and (2) the Diasporic Vietnamese Artists Network. We conclude by describing how we are applying our model and building support for critical CSL and argue that AAS and ethnic studies must reclaim CSL from the dominant “charity-based” model or risk losing our social justice orientation and commitment to empowerment and self-determination for our communities.
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Treece, David. "Música Popular Black and anti-racist struggles: musical cosmopolitanism and the soul aesthetic in Brazil (1963-1978)." Brasiliana: Journal for Brazilian Studies 10, no. 2 (2022): 407–41. http://dx.doi.org/10.25160/bjbs/10.2.23.
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This essay reassesses the political significance of the creative impulses, performance aesthetics and artistic work that became identified collectively as Música Popular Black, and their contribution to the anti-racist cause in Brazil during the 1964-85 dictatorship. It re-evaluates how the state orthodoxy of racial nationalism and denialism was challenged, not merely in the adoption of the soul aesthetic as a marker of diasporic identification with US Blackness, but in the cumulative emergence of an autonomous anti-racist consciousness and voice for Afro-Brazilians within their ownmusical and social world. This was expressed, not only in a body of powerfully explicit anti-racist statements but also in a creolized, cosmopolitan idiom of vocal and performative style that connected local artists and the Black Rio dance scene, and that contributed to the building of a Black public sphere, leaving a potent legacy for the musical and political movements of the 1980s, 1990s and beyond.