Academic literature on the topic 'Minority artists'
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Journal articles on the topic "Minority artists":
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Kleeblatt, Norman L. "Master Narratives/Minority Artists." Art Journal 57, no. 3 (1998): 29. http://dx.doi.org/10.2307/777967.
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Kleeblatt, Norman L. "Master Narratives/Minority Artists." Art Journal 57, no. 3 (September 1998): 29–35. http://dx.doi.org/10.1080/00043249.1998.10791890.
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Le, Huong, Uma Jogulu, and Ruth Rentschler. "Understanding Australian ethnic minority artists’ careers." Australian Journal of Career Development 23, no. 2 (June 13, 2014): 57–68. http://dx.doi.org/10.1177/1038416214521400.
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Bergsgard, Nils Asle, and Anders Vassenden. "Outsiders? A sociological study of Norwegian artists with minority background." International Journal of Cultural Policy 21, no. 3 (May 27, 2014): 309–25. http://dx.doi.org/10.1080/10286632.2014.920331.
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Shi, Tian. "Visualized Trauma, Sensitized Resilience: Urban Art among the French Hmong Community." Cosmopolitan Civil Societies: An Interdisciplinary Journal 14, no. 2 (July 29, 2022): 40–51. http://dx.doi.org/10.5130/ccs.v14.i2.8089.
Abstract:
Various types of urban art emerged and prospered in recent decades when degenerating cities were embracing art as a marketing strategy. This urban-rejuvenation approach sheds less light on the agency and motivation of artists. This paper examines how ethnic artists represent traumatic memory, reflect nostalgia and mobilize individuals to collaborate with one other to build resilience. This study contributes to the literature that explores the agency and creativity of underrepresented minority artists in global society at large.
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Brusila, Johannes, and Kim Ramstedt. "From audio broadcasting to video streaming: The impact of digitalization on music broadcasting among the Swedish-speaking minority of Finland." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 145–59. http://dx.doi.org/10.1386/jepc_00006_1.
Abstract:
This paper investigates how digitalization has affected the role that Finland’s Public Service Broadcasting Company (YLE) plays for the popular music culture of the Swedish-speaking minority of Finland. Drawing on theories from popular music and cultural industry studies, the study explores to what extent new technology has changed practices, structures and perspectives of minority artists. The paper, which forms a sub-study of a larger research project on the impact of digitalization on minority music, focuses on two case studies, the comic duo Pleppo and comedian/artist Alfred Backa. The analysis illustrates how important the public service broadcasting company still is for minority culture despite the structural changes caused by digitalization. However, the radio’s quality norms have led to a paradoxical situation where the digital productions of the musicians need to compete with the technical standards of the international entertainment industry, whereas the channels’ own productions can follow DIY norms. As the broadcasting company is increasingly moving its focus towards the web, it must in the future achieve a balance between the different dynamics of commercial interests, controversial creativity and traditional public broadcasting objectives.
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Thomas, Steffan. "Mutually Beneficial Publisher and Artist Regulated Distribution Model for the Niche Music Industry." Journal of Creative Industries and Cultural Studies 3 (2017): 32–45. http://dx.doi.org/10.56140/jocis-v3-2.
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Copyright and intellectual protection cannot always answer the requirements for a niche independent or minority language music publisher or artist. This paper assesses the challenges faced within the independent niche and minority language music market, and seeks to establish a model which could generate a sustainable digital income and reap remuneration for creativity. Using Varian’s (2005) fourteen business model categorisations as a framework, four types of business model solutions are considered: a price based model; a control model; a bundled model; and finally an enhanced content and relationship model. This paper concludes with a conceptual model which could be mutually beneficial for publishers and consumers of niche music. The niche, independent or minority language artists or publishers will be referred to as micro or SME companies (Small-to-Medium sized Enterprises) within this paper. Micro and SME’s as a classification, rather than independent publishers, limits the scope of the proposed model’s application to companies with a staff of fewer than 25 and a turnover below £10million. These are companies with limited resources to invest in researching and developing a digital distribution strategy.
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Schroeder, Nina. "Art and Heterodoxy in the Dutch Enlightenment." Church History and Religious Culture 101, no. 2-3 (July 21, 2021): 324–56. http://dx.doi.org/10.1163/18712428-bja10027.
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Abstract This paper considers the artist Arnold Houbraken (1660–1719) as an unconventional Christian and sheds new light on his representation of artists from religious minority groups in his Great Theatre of Netherlandish Painters and Painteresses (1718–1721). By exploring Houbraken’s years within the Flemish Mennonite milieu in Dordrecht (1660–ca. 1685) and investigating his representation of religious difference in his biographies within The Great Theatre, this study extends scholarship on Houbraken beyond the current focus on his later years as a writer in Amsterdam, and it offers findings on the experience and reception history of nonconformists and religious minority group members, like the spiritualist David Joris and the Mennonite martyr Jan Woutersz van Cuyck (among others), within the Dutch art world. The paper also addresses the historiographical disconnect between literature in the disciplines of art history, intellectual history, and history of religion that persisted until very recently regarding Houbraken’s status as a heterodox Enlightenment thinker.
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Pushaw, Bart. "Artistic Alliances and Revolutionary Rivalries in the Baltic Art World, 1890–1914." International Journal for History, Culture and Modernity 4, no. 1 (March 28, 2016): 42–72. http://dx.doi.org/10.18352/hcm.503.
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In the areas now known as Estonia and Latvia, art remained a field for the Baltic German minority throughout the nineteenth century. When ethnic Estonian and Latvian artists gained prominence in the late 1890s, their presence threatened Baltic German hegemony over the region’s culture. In 1905, revolution in the Russian Empire spilled over into the Baltic Provinces, sparking widespread anti-German violence. The revolution also galvanized Latvian and Estonian artists towards greater cultural autonomy and independence from Baltic German artistic institutions. This article argues that the situation for artists before and after the 1905 revolution was not simply divisive along ethnic lines, as some nationalist historians have suggested. Instead, this paper examines how Baltic German, Estonian and Latvian artists oscillated between common interests, inspiring rivalries, and politicized conflicts, questioning the legitimacy of art as a universalizing language in multicultural societies.
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Morelli, Didier. "Stanley Février: Performing the Invisible." Canadian Theatre Review 190 (April 1, 2022): 69–72. http://dx.doi.org/10.3138/ctr.190.016.
Abstract:
This article examines how the Québécois artist Stanley Février approached the absence of BIPOC artists exhibited and collected at the Montreal Museum of Contemporary Art (MAC) with three performative projects that successfully forced the institution to revisit its collecting and exhibiting practices. In An Invisible Minority (2018), the artist infiltrated the MAC as a security guard after assessing that this was the only culturally diverse body of employees in the museum. Février then showed an installation at ARTEXTE composed of statistics, comparative charts, and other quantitative data points that highlighted the lack of representation in Montreal galleries and museums. It’s Happening Now (2019) was a guerrilla action organized with other collaborators where performers clad in black skinsuits dragged fifty years of annual reports by the MAC tied to their ankles before shredding them in the museum’s main lobby. In conjunction with these project, MAC-I was created as an alternate, unsanctioned portal to the MAC official website to promote the practices of non-white Québécois and Canadian artists. While Février’s figurative sculptural work has garnered attention, with recent acquisitions by the Montreal Museum of Fine Arts and the Musée national des beaux-arts du Québec, his more immaterial, institutionally critical, performative works remain undervalued and framed as ‘activism’ rather than their own aesthetic events.
Dissertations / Theses on the topic "Minority artists":
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Croft, Pamela Joy, and n/a. "ARTSongs: The Soul Beneath My Skin." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030807.124830.
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This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.
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Croft, Pamela Joy. "ARTSongs: The Soul Beneath My Skin." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367423.
Abstract:
This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Queensland College of Art
Full Text
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Zhang, Naiyong. "Les femmes artistes d'origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA042.
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Cette thèse est consacrée à l’évolution de la place des femmes artistes d’origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010. Son axe central consiste à montrer comment les mutations sociales ont modifié la place des femmes, et, plus précisément, comment leur place a été redéfinie dans un discours identitaire. Si dans les années 1950-1980, les œuvres portant sur l’idéologie collectiviste et la représentation de « la femme d’acier » occupaient une place primordiale, dans les années 1981-2000, les femmes artistes décrivent la situation réelle des femmes et mettent l’accent sur la question de l’identité des femmes modernes et sur des relations entre les femmes et les hommes. Elles cherchent à maîtriser des formes d’expression artistique ethnique plus variées et plus légitimes. Depuis 2001, afin de préserver les cultures ethniques face à la mondialisation, les femmes artistes essaient d’interpréter la profondeur de la culture ethnique dans leurs œuvres. C’est vers les traditions, telles que la mémoire historique, les mythologies, les chansons et les danses, que se tournent les artistes femmes issues des ethnies minoritaires à la recherche de racines culturelles. Cette recherche s’appuie à la fois sur l’analyse de la situation socio-culturelle des femmes artistes issues des ethnies minoritaires, l’analyse de la construction de l’identité féminine et l’analyse des particularités de l’expression des femmes artistes eu égard à leur appartenance ethniqueThis thesis is devoted to studying the evolution of the place of female artists with Miao, Mongolian and Uygur origins in the Chinese artistic field 1950-2010. The central theme is to demonstrate how social changes have changed the place of women, and more specifically, how the place of women has been redefined in an identity discourse. If in the years 1960-1980, the art works dealing with the collectivist ideology and the representation of the ‘iron woman’ occupied a primordial place, in the years 1981-2000, the female artists describe the real situation of the women and put the focus on the question of the identity of modern women and the relations between women and men. They seek to master the different forms of ethnic artistic expression. Since 2001, in order to preserve ethnic cultures facing the globalization, the female artists are trying to interpret the depth of ethnic culture in their art works. It is towards traditions, such as historical memory, mythologies, songs and dances, that the female artists with ethnic minority origins are looking for their cultural roots. This research is based at the same time on the analysis of the socio-cultural situation of female artists with minority origins, the analysis of the construction of the feminine identity and the analysis of the particularities of the expression of female artists because of their ethnicity
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Lemieux, Suzanne. "Le processus de création chez les artistes francophones et anglophones de la région de Sudbury." Acfas-Sudbury, 2005. https://zone.biblio.laurentian.ca/dspace/handle/10219/86.
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Paradis, Vigneault Marie-Claude. "Par les mains pour les yeux : Les représentations de l'identité sourde au sein de performances artistiques de la scène montréalaise." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29327/29327.pdf.
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Ce mémoire s’appuie sur une recherche ethnographique réalisée principalement au sein de la communauté sourde de Montréal et tente de déceler les représentations de l’identité sourde au sein de performances artistiques de la scène montréalaise. Le but de cette recherche est d’inscrire la culture sourde dans les réflexions sociales et scientifiques portant sur l’expression identitaire de minorités culturelles par les arts. Afin de démontrer les liens à la fois théoriques et pratiques entre l’identité sourde et celles de minorités socio- politiques, telles que les Noirs, les gays, les femmes ou les Queers, cette étude s’appuie sur les concepts de performativité (Judith Butler), de performance (Clifford Geertz et Victor Turner) et de représentations (Stuart Hall et Serge Moscovici). Y seront également démontrées les relations entre ces notions, le vécu des sujets, leur agency et leur expression artistique.This thesis is based on ethnographic research conducted primarily within the Montreal’s Deaf community and tries to identify Deaf identity representations through artistic performances of the Montreal scene. The purpose of the research is to include Deaf culture in the social and scientific reflections about the expression of their cultural identity by minorities, through the arts. In an attempt to demonstrate the links, both theoretical and practical, between the Deaf identity and recognized social and socio-political minorities such as Blacks, gays, women or Queers, this study is grounded in the concepts of performativity (Judith Butler), performance (Clifford Geertz and Victor Turner) and representations (Moscovici and Stuart Hall). It also demonstrates the relationships between these concepts, the subjects’ personal experiences, their agency and their artistic expression.
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Rivera-Servera, Ramón Hommy Dolan Jill. "Grassroots globalization, queer sexualities, and the performance of Latinidad." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3122780.
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Dutkiewicz, Adam. "Raising ghosts post-World War Two European emigre and migrant artists and the evolution of abstract painting in Australia, with special reference to Adelaide ca 1950-1965." 2000. http://arrow.unisa.edu.au:8081/1959.8/24967.
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Raising ghosts examines the political and cultural climate in Australia in the mid-20th century, and proposes that e?migre? and migrant artists to a significant extent were the catalysts of change and progenitors of new forms of painting in the post-war years. It uncovers a largely hidden but fertile terrain in Australian modernism.thesis (PhDVisualArts)--University of South Australia, 2000.
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Rivera-Servera, Ramón H. 1973. "Grassroots globalization, queer sexualities, and the performance of Latinidad." 2003. http://hdl.handle.net/2152/12590.
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Cmielewski, Cecelia. "Challenges of leadership in arts policy and practice in multicultural Australia." Thesis, 2018. http://hdl.handle.net/1959.7/uws:48765.
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Despite over thirty years of arts and cultural policy attention, there is a widespread view held by the public and artists alike that creative production does not reflect Australia’s culturally diverse population. Australian society also displays increasing complexity which can no longer be confined to ‘essentialised’ or traditional definitions of ethnic communities. While this diversity and its emerging complexity can be ‘celebrated’ as a source of creativity and innovation, it can also give rise to social, political and creative challenges. A key challenge that remains for the arts sector is its ability to support the creative expression of cultural difference. One measure of inclusive creative production regards the participation of artists of non-English speaking background (‘NESB’), a problematic term discussed in the thesis, in contributing to cultural formation. Yet there are half as many ‘NESB’ artists compared to those of other professions participating in the workforce. While under-representation is an issue for management in the arts sector, the question of representation also benefits from being understood more broadly beyond the narrow sense of multiculturalism as a tool to manage cultural difference. Despite their low presence in the arts, ‘NESB’ artists find and generate support for their practice through creative, institutional and organisational domains which are critical for effecting sustained change in the arts environment. I argue that ‘friction’ occurs when these domains encounter cultural difference. The presence of friction can inspire creativity but also needs to be carefully handled. The ability to gain ‘trust’ through this process gives rise to creative, institutional and organisational leadership. The thesis questions the relationship between Australian arts policies and the fostering of creative practice of ‘NESB’ artists. This relationship is broached by considering creative, institutional and organisational leadership with a focus on the final Arts in a Multicultural Australia (AMA) policies of 2000 and 2006. Creative leadership refers to the work of artists who generate new developments in diverse creative content and generate opportunities for other artists. Institutional leadership refers to the internal policy processes and peers who work with the Australia Council. Organisational leadership refers to those in positions of influence in funded arts organisations to provide resources and support to ‘NESB’ artists. The term developed in this thesis of a ‘multicultural arts milieu’ presents an alternative given the current absence of arts policy to explore the environment around multicultural arts practices. This thesis explores the relationship between visionary aspects of practice and policy. The leadership modes that are relevant to the arts in a multicultural Australia include transactional, transformative, distributive and relational leadership, all of which benefit from processes of ‘attunement’ and ‘accompaniment’ to realise effective creative co-production. The research demonstrates the crucial role of creative leaders and how they work with the ‘mainstream’ while maintaining their creative integrity and independence to generate a ‘virtuous’ circle of change. I argue that it is the ‘NESB’ artists who lead change in the arts sector. I also argue that creative and organisational leadership working in partnership make creative use of ‘friction’ and develop the necessary ‘trust’ to generate the ‘traction’ for a supportive multicultural arts milieu.
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Duarte, Inês da Silva Fróis. "Conflito de interesses entre sócios maioritários e minoritários : alterações realizadas nos artigos 87º, 88º e 89º do Código das Sociedades Comerciais pelo Decreto-lei 79/2017, de 30 de junho." Master's thesis, 2020. http://hdl.handle.net/10400.14/36748.
Abstract:
O impacto do conflito de interesses numa empresa e, num país como Portugal, pode constituir um entrave ao desenvolvimento de uma economia, sociedade e, por vezes, um limite à sua internacionalização.
Na presente dissertação de mestrado, pretendemos explorar a temática dos conflitos entre sócios e, também, de todos os elementos que consideramos essenciais para o efeito.
Sob uma perspetiva concreta e deveras ilustrativa desses possíveis conflitos, analisaremos as implicações que o novo processo de conversão de suprimentos em capital social, aprovado a 30 de junho, pelo DL 79/2017, desencadeia perante a sociedade, os sócios e, até, para com os restantes stakeholders.
As alterações nos artigos 87.º a 89.º do CSC, introduzidas por este diploma, serão, então, o cerne e o foco de uma análise que se procura completa e exaustiva, contextualizada na conciliação dos deveres e princípios agregados à completude do processo, com o potencial futuro do mesmo nas sociedades comerciais portuguesas.
Assim sendo, procederemos a uma análise dos conflitos de interesse entre sócios e a forma variada como podem surgir. De seguida, passaremos ao estudo dos padrões de conduta dos sócios, destacando os deveres e direitos dos mesmos. E, por fim, como mencionado anteriormente, exploraremos o novo processo de conversão de suprimentos em capital social, sob a génese dos possíveis conflitos entre sócios.The impact of conflict of interests in a company and, in a country like Portugal, can constitute an obstacle to the development of an economy, society and, sometimes, a limit to its internationalization. In the present master's thesis, we intend to explore the theme of conflicts between partners and, also, of all the elements that we consider essential for the purpose. From a concrete perspective and very illustrative of these possible conflicts, we will analyze the implications that the new process of converting supplies into share capital, approved on June 30, by DL 79/2017, unleashes before society, the partners and, even, for with other stakeholders. The changes in articles 87 to 89 of the CSC, which emerged with this DL, will then be the focus and focus of an analysis that is sought to be complete and exhaustive, contextualized in the reconciliation of duties and principles, added to the completeness of the process, with the future potential of it in Portuguese commercial companies. Accordingly, we will proceed to an analysis of conflicts of interest between partners and the varied manner in which they may arise. Then, we will move on to the study of the partners' standards of conduct, highlighting their duties and rights. And finally, as mentioned earlier, we will explore the new process of converting supplies into social capital, under the genesis of possible conflicts between partners.
Books on the topic "Minority artists":
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LaDuke, Betty. Women artists: Multi-cultural visions. Trenton, N.J: Red Sea Press, 1992.
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Thackray, Marc, Christine O'Dowd-Smyth, and Stephanie McKenzie. Living at the edge, living at the centre: Ireland, Newfoundland, the francophone world : the birth of a new, demarginalised creativity. Corner Brook, Nfld: Scop Productions, 2006.
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Conseil des communautés culturelles et de l'immigration du Québec. Avis sur les nouvelles présences d'artistes: Vers une meilleure insertion sociale des créateurs de communuautés culturelles en arts visuels. [Québec]: Le Conseil, 1990.
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Conseil des communautés culturelles et de l'immigration du Québec. Avis sur les nouvelles présences d'artistes: Vers une meilleure insertion sociale des créateurs des communautés culturelles en arts visuels : avis adopté à la réunion du Conseil des communautés culturelles et de l'immigration tenue le 22 février 1990. Montréal, Québec: Le Secrétariat du Conseil, 1990.
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Tremblay, Stéfanie. Rincebook: 30 jours jamais hors ligne. [Alma, Québec]: Centre Sagamie, 2010.
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Kulturzentrum bei den Minoriten (Graz, Austria). 20 Jahre Kulturzentrum bei den Minoriten: Eine Dokumentation. Edited by Seuter Harald 1941- and Pölzl Birgit. Graz: Das Zentrum, 1995.
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Nguyen, Hoa. La visibilité des artistes des communautés culturelles: Compte rendu des entrevues réalisées auprès d'un groupe d'artistes en arts visuels. Montréal, Québec: Conseil des communautés culturelles et de l'immigration, 1989.
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Andreoni, Helen. --Outside the gum tree--: The visual arts in multicultural Australia. Redfern: National Association for the Visual Arts, 1992.
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M, Farris-Dufrene Phoebe, ed. Voices of color: Art and society in the Americas. Atlantic Highlands, N.J: Humanities Press, 1997.
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Aguirre, J. C. Artistes immigrants, société québécoise: Un bateau sur le fleuve. [Québec]: Editions du CIDIHCA, 1995.
Book chapters on the topic "Minority artists":
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Magazzini, Tina. "In the Eye of the Beholder? Minority Representation and the Politics of Culture." In IMISCOE Research Series, 275–91. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_15.
Abstract:
AbstractThe debate(s) on the relationship between art, activism and academia is as old as knowledge-production itself. In keeping with this volume’s focus on reflexivity and representation, this contribution asks what role filmmakers, curators and artists play as knowledge producers and as knowledge-brokers when working on politicized issues such migration and/or ethnicity. This chapter looks at three European experiences that sit on the seam of curatorial practice, testimony and activism and address the (visual) narratives of minority groups. Exploring the emergence of these initiatives and drawing upon interviews with the curators and artists behind them, this chapter takes stock of ongoing debates on the complex relationship between political and artistic representation on minority groups. Adopting Mitchell’s (1995) approach to representation that sees it as always being ‘of someone, by someone, to someone’, particular attention is given to the implications of what kind of stories are told, for whom they are told, and of who does the storytelling.
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Pannewick, Friederike. "The Year 1979 as a Turning Point in Syrian Theatre: From Politicization to Critical Humanism." In Re-Configurations, 277–87. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-31160-5_18.
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Abstract This chapter investigates a crucial turning point in the writing of Syrian dramatist Saadallah Wannous (1941–1997) in the late 1970s. This internationally acclaimed author belonged to a generation of Arab intellectuals and artists whose political and artistic identities were strongly shaped by the question of Palestine. After the Camp David Accords of 1978 and the resulting Egypt-Israel peace treaty, signed in 1979, Wannous attempted suicide and stopped writing plays for more than ten years. This chapter shows how the plays he published after this self-imposed silence moved away from a didactic, political theater and towards psychological studies focusing on individuals as well as minority and gender issues. This chapter asks whether the significant aesthetic and conceptual turn in Wannous’s work from the early 1990s onwards might go beyond the concerns of a specific individual artist. To what extent does it mark a generational shift in regard to the meaning and connotations of political art?
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Best, Katelyn. "Expanding Musical Inclusivity." In Music and Democracy, 235–66. Vienna, Austria / Bielefeld, Germany: mdwPress / transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456576-010.
Abstract:
Products such as headphones, music streaming platforms, and learning assessments foster a hearing-centric realization of music that places auditory senses at the forefront of musical experience. Yet within the context of Deaf culture, a linguistic minority defined by the use of sign language, music takes on new meaning as musical experience is expanded to other senses of the body. Despite this relative construction, music in Deaf culture has been subjugated to a hegemonic ideology that undermines and marginalizes Deaf experiences of sound. However, Deaf musicians have been able to work toward subverting the ideological limitations that have been placed on their music, and by extension their bodies, by adapting musical structures produced by mainstream society and realigning them toward Deaf priorities. Using ethnographic methods including artist interviews, this chapter investigates how Deaf rappers have created a style of hip hop that prioritizes Deaf experiences of sound over hearing ones and considers how, through performance, they subvert hegemonic control over Deaf musical expression and promote the inclusion of Deaf forms of musicking.
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May, Adrian. "Immoral, Impure, Atheist Artists?" In From Bataille to Badiou, 94–128. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786940438.003.0004.
Abstract:
This chapter identifies the literary neo-Nietzschean critical ethos that defined the review from its opening issues, whilst also tracing how this ethos shifted in response to changes in the French social and political climate. The review’s progressive emphasis on anti-essentialist and post-foundational thought is contrasted to the return to Enlightenment thought, French values and communicational rationality proposed by Jürgen Habermas and Alain Finkielkraut. In contrast to the more abstract, conceptual emphasis of Derridean deconstruction, the review’s materialist approach to literary writing is demonstrated with particular reference to the works of Jean-Noël Vuarnet and Michel Surya. The review’s early, staunch secularism is then seen to become more tempered after scandals surrounding Islamic headscarves, laïcité, and the terrorist threats made towards Salman Rushdie, Taslima Nasreen, Robert Redeker and Charlie Hebdo, as the review refuses to be drawn into outright condemnation of France’s stigmatised Muslim minority. Lastly, the review’s Nietzschean stress on amoral philosophy is seen to be more responsible than nihilistic when placed in the context of shifting social mores, especially regarding changing philosophical perspectives on paedophilia.
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"13. From Others to Artists? Immigrant and Ethnic Minority Art." In An Introduction to Immigrant Incorporation Studies, 305–24. Amsterdam University Press, 2014. http://dx.doi.org/10.1515/9789048523153-014.
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Uy, Michael Sy. "The National Endowment for the Arts, the U.S. Bicentennial, and the Expansion Arts and Jazz/Folk/Ethnic Programs." In Ask the Experts, 155–82. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510445.003.0007.
Abstract:
This chapter investigates the National Endowment for the Arts’s (NEA’s) jazz program, Expansion Arts division, Bicentennial fellowships for “jazz/folk/ethnic” artists, and Folk Arts division. While the NEA mirrored a policy of matching requirements in its Treasury grants—which supported predominantly symphony orchestras—it also provided several millions of dollars to otherwise underrepresented and undersupported artists and communities. Not only were the NEA’s officers keenly committed to helping jazz and folk music, but also they brought in experts from urban, suburban, and rural communities to work as program directors. Vantile Whitfield and A. B. Spellman—key figures in the black arts movement of the 1970s—became directors. These experts recruited panelists of a broader geographical, racial, and gender representation, and similarly funded more diverse musicians and artists. Compared to the Ford and Rockefeller Foundations, which rarely provided funding to jazz or the music of minority communities, the government agency was a lifeline to otherwise unseen and unheard cultural practices.
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Avilez, GerShun. "Movement in Black." In Black Queer Freedom, 21–53. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043376.003.0002.
Abstract:
Black gay and lesbian artists take up the question of spatial justice in their works because they recognize the social insecurity for those who sit at the intersection of racial and sexual minority existence. Spatial justice names the project of describing the ongoing denial of freedom of movement paired with claiming the right of mobility and the right to occupy public space. The chapter uses the poetry of Cheryl Clarke and Pat Parker to establish this idea of spatial justice. These artists, among others, contend with the spatialized inequality that eludes legislative change, specifically, the Civil Rights Act of 1964, through documentary poetic projects. Calls for spatial justice result in art concerned with queer self-making and world-making even in the context of layered conflict.
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Glick, Joshua. "Wattstax and the Transmedia Soul Economy." In Los Angeles Documentary and the Production of Public History, 1958-1977. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520293700.003.0006.
Abstract:
This chapter focuses on Wattstax (1973) and the different players involved with its creation. The film’s vérité-style footage of Stax artists and fans in the Los Angeles Coliseum, residents in the surrounding neighborhood, along with testimony from comedian Richard Pryor, constituted far more than a standard concert film. The documentary foregrounded a feedback loop between everyday black experience and cultural expression. Wattstax also served as the crucial pivot project for Wolper’s push toward minority subjects, Stax’s attempt to become a film studio, and numerous crew members’ personal efforts to advance their careers.
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Hargreaves, Alec G., and Mark McKinney. "Afterword A Long Road To Travel." In Post-Migratory Cultures in Postcolonial France, 257–74. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941138.003.0015.
Abstract:
In assessing the extent to which creative works by post-migratory artists are shaped by the legacy of the colonial era in present-day France, we delineate a spectrum stretching between two poles – on the one hand, postcolonial entrenchment, and on the other, post/colonial detachment – between which lie a range of more nuanced and multi-polar positions. Politically hard-edged rappers typify the more entrenched end of the spectrum, positioning themselves in conflict with the state and appealing to audiences in which post-colonial minorities are to the fore. More consensual positions, suggesting that France is moving or has moved beyond the polarized divisions of the colonial era, tend to characterize the work of artists such as professional dancers benefiting from public funding and others, such as the filmmaker and actor Dany Boon, whose minority ethnic origins have been largely effaced in productions that have achieved high-profile box office successes among broadly based audiences. The works of many other post-migratory artists are positioned between and in some respects disjunct from these poles, tracing multi-polar trajectories in which Anglophone spaces often displace the binary logic of (post-)colonialism. At the same, many of these artists complain that, no matter how hard they may try to leave behind divisions inherited from the colonial past, they remain in many ways framed by them in majority ethnic eyes, suggesting that a long journey still lies ahead on the road from a neo-colonial to a post/colonial France.
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Williams, Justin A. "Politics." In Brithop, 91–118. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190656805.003.0005.
Abstract:
This chapter discusses the Scottish independence debate as performed in hip-hop, which deals with issues of power, economics, stereotypes, and civic nationalism in a postcolonial era. The chapter shows how these artists reinvent and subvert the notion of “Otherness” and minority identity by using humor and wordplay to critique stereotypes of Scottishness, Englishness, (African American) mainstream hip-hop, and most politically, the status quo. Stanley Odd and Loki address the referendum in different ways, but both utilize rapping as a folk protest medium by which to sound out their concerns and relevant debates surrounding independence. Primary case study tracks discussed in this chapter include “Marriage Counselling,” “Antiheroics,” “Son I Voted Yes,” all by Stanley Odd, and Loki’s album Government Issue Music Protest (G.I.M.P).
Conference papers on the topic "Minority artists":
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Chen, Zheng, and Hai Liang. "Research on Aesthetic Culture and Artistic Communication in Frontier Minority Areas under the Background of qthe Belt and Roadq." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.135.
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Cao, Thi Hao. "Research on Tay Ethnic Minority Literature in Vietnam Under Cultural View." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-3.
Abstract:
The Tay people are an ethnic minority of Vietnam. Tay literature has many unique facets with relevance to cultural identity. It plays an important part in the diversity and richness of Vietnamese literature. In this study, Tay literature in Vietnam is analyzed through a cultural perspective, by placing Tay literature in its development from its birth to the present, together with the formation of the ethnic group, and historical and cultural conditions, focusing on the typical customs of the Tay people in Vietnam. The researcher examines Tay literature through poems of Nôm Tày, through the works of some prominent authors, such as Vi Hong, Cao Duy Son, in the Cao Bang province of Vietnam. Cao Bang is home to many Tay ethnic people and many typical Tay authors. The research also locates individual contributions of those authors and their works in terms of artistic language use and cultural symbolic features of the Tay people. In terms of art language, the article isolates the unique use of Nôm Tay characters to compose stories which affect the traditional Tay luon, sli, and so forth, and hence the use of language that influences poetry and proverbs of Tay people in the story of Vi Hong, Cao Duy Son. Assuming a symbolic framework, the article examines the symbols of birds and flowers in Nôm Tay poetry and the composition of Vi Hong, Cao Duy Son, so to point out the uniqueness of the Tay identity. The above research issue is necessary to help us better appreciate the cultural values preserved in Tay literature, thereby, affirming the unique cultural identity of the Tay people and planning to preserve and develop these unique cultural features from which emerges the risk of falling into oblivion in modern social life in Vietnam. In addition, this is also a research direction that can be extended to Thai, Mong, Dao, etc, ethnic minorities in Vietnam.
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Freitas, Priscilla Fernandes Silva de, and Ana Carla Silva Dos Santos. "COMUNICAÇÃO EFETIVA DOS PROFISSIONAIS DE SAÚDE NA ASSISTÊNCIA A PESSOA COM SURDEZ: REVISÃO INTEGRATIVA." In II Congresso Nacional Multidisciplinar em Enfermagem On-line. Revista Multidisciplinar em Saúde, 2021. http://dx.doi.org/10.51161/rems/2549.
Abstract:
Introdução: A Língua de Sinais é universal e utilizada pela comunidade surda, através da modalidade gestual-visual, a mensagem é produzida pelas mãos e recebida com os olhos, apresentando estrutura gramatical diferenciada, características únicas variando de acordo com o país (CHAVEIRO et al, 2010). Por serem minoria na população, os surdos enfrentam problemas quanto à acessibilidade aos serviços, principalmente os relacionados à saúde. O pouco conhecimento dos profissionais de saúde, sobre a Língua Brasileira de Sinais, cria uma barreira na relação profissional-paciente e não favorece a humanização e integralidade no atendimento (SOUZA et al, 2017). Objetivo: Investigar por meio de publicações científicas artigos sobre a comunicação efetiva dos profissionais de saúde na assistência a pessoa com surdez. Metodologia: Trata-se de uma revisão integrativa da literatura, nas bases dados eletrônicas: Literatura Latino Americana e do Caribe em Ciências da Saúde (LILACS), Base de Dados de Enfermagem (BDENF – Enfermagem) e Medical Literature Analys is and Retrieval System online (MEDLINE), disponíveis na Biblioteca Virtual em Saúde (BVS). Foram utilizadas as palavras-chave indexadas nos Descritores em Ciências da Saúde (DeCS): Profissionais de Saúde, Comunicação efetiva, Perda Auditiva, entre o período de 2016 a 2019. Resultado: Após a leitura dos títulos, resumos e exclusão dos estudos de acordo com os critérios de inclusão resultou em uma amostra de 12 estudos, destes, 33,3% constavam nas bases MEDLINE, 33,3% LILACS, 16,6% bases BDENF, 16,6% IBECS. Diante dos artigos encontrados, pôde-se analisar que as barreiras na comunicação para atender os pacientes com surdez está relacionada à falta de preparo para identificar problemas de saúde e interagir com o cliente, e isto provavelmente se dá devido as poucas ofertas de cursos de qualificação ou até mesmo inserção do curso de linguagem de sinais na matriz curricular da graduação dos profissionais de saúde. Conclusão: Cada cliente possui sua especificidade dentro do atendimento realizado pelo profissional de saúde, e a comunidade surda também apresenta suas particularidades, o profissional que conhece a língua de sinais realiza a inclusão, segue os princípios do SUS, gera um atendimento de qualidade por meio da comunicação efetiva realizando os cuidados de forma precisa.
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Dias, Amanda Gaio, Jaqueline Guinallia Verona, Larissa Ramos de Lima e. Silva, Letícia Marsari Pereira, and Samira Coladão dos Santos. "RELAÇÃO ENTRE DOENÇA DE KAWASAKI E SÍNDROME INFLAMATÓRIA MULTISSISTÊMICA EM CRIANÇAS ASSOCIADA À COVID-19: EVOLUÇÃO E CONDUTA." In Congresso Online Brasileiro de Medicina. CONGRESSE ME, 2021. http://dx.doi.org/10.54265/xiln8372.
Abstract:
No mundo todo foi observada uma aceleração da incidência de COVID-19, que brevemente evoluiu para uma emergência na saúde global. Em crianças, a infecção pelo novo coronavírus da Síndrome Respiratória Aguda Grave (SARS-CoV-2) geralmente se apresenta de forma assintomática ou sintomática branda, sendo 1 a 5% os casos sintomáticos. No entanto, uma minoria evolui para sintomáticos graves desenvolvendo o que a Organização Mundial de Saúde (OMS) chamou de Síndrome Inflamatória Multissistêmica em crianças (MIS-C), a qual possui características semelhantes à Doença de Kawasaki (DK), uma doença rara e grave com potencial de morbidade persistente, tanto em aspecto fisiológico imunomediado quanto em sinais clínicos, podendo levar a cardiopatias graves, exigindo desse modo cuidados intensivos. Nessa perspectiva, o objetivo do presente estudo foi realizar uma revisão de literatura que demonstra a relação entre a DK e a Síndrome Inflamatória Multissistêmica desencadeada por COVID-19 em crianças, explicitando sua gravidade e a necessidade de intervenção adequada, e a partir disso compreender sua dimensão no contexto atual da pandemia de SARS-CoV2. Com o intuito de ampliar a compreensão das possíveis explicações e implicações de tal relação, foi realizada uma busca nas bases de dados Scientific Electronic Library Online (SciELO), PubMed, Biblioteca Virtual em Saúde (BVS) e UpToDate, incluindo artigos nos idiomas português e inglês entre os anos de 2020 e 2021. A desregulação imunológica que ocorre na MIS-C e na DK mostra semelhança quanto à evolução clínica, afetando muitos órgãos e sistemas e sendo potencialmente grave, constituindo portanto a MIS-C como uma possível DK rara e complicada. Há constantes avanços dos métodos diagnósticos e de tratamentos, com preconização de terapias medicamentosas como a administração de imunoglobulina intravenosa (IgIV), a qual diminuiu drasticamente a frequência do desenvolvimento de aneurismas e a mortalidade. As complicações a longo prazo ainda não são totalmente conhecidas, mas há evidências de distúrbios no sistema cardiovascular, renal e pulmonar, com claro risco de óbito caso o quadro não seja rapidamente reconhecido. Significativas pesquisas acerca do tema têm sido desenvolvidas para a faixa etária pediátrica, sendo crescente a elucidação da relação entre a Síndrome Inflamatória Multissistêmica e a DK. Contudo é reforçada a importância do diagnóstico precoce da MIS-C e a implicação de intervenções terapêuticas de alto poder resolutivo, em busca do tratamento definitivo e a fim de evitar as complicações e consequente mortalidade associada à gravidade da doença. PALAVRAS-CHAVE: Coronavírus, Criança, Inflamação, Síndrome de linfonodos mucocutâneos