Добірка наукової літератури з теми "Indigenous aesthetic resistance"

Woven through the threads of the poetry, performance, and visual art of Cecilia Vicuña are the image and metaphor of weaving itself, a visual and cultural reminder of an other—indigenous and feminine—form of forging cultural memory. Ever committed to using the aesthetic both to remember the violent exclusions of history and to explore the perpetuation and transformation of the marginalizing structures of power in the present, Vicuña's multigenre work spans over thirty years of Chile's turbulent history of struggle with dictatorship and toward democracy. This essay analyzes the interlacing of textile and text in quipoem, a collection of the poetry and visual art of this author-artist that re-presents a constantly evolving theorization of the complex relation between aesthetics and politics, writing and difference, and memory and power in the postcolonial, postdictatorship context of the Americas in the age of neoliberal globalization.

AbstractIn 1914, an epidemic of bubonic plague ravaged colonial Dakar. The panicked French colonial administration blamed the native population and evicted indigenous Africans from the city center before burning their homes. The Dakarois fought back through a general strike, political maneuvering, and, finally, by taking to the streets. Out of this year of disease, politics, racism, and resistance came the new, segregated neighborhood of Médina, which was created to house the displaced African population of Dakar. Over the twentieth century, as Dakar swelled into a metropolis around it, Médina was a unique space in the Senegalese capital—a hotbed of cultural creativity, a crossroads for waves of migrants, and a potent and enduring contrast with the nearby downtown, known as the Plateau. This article explores the ways in which the plague of 1914 reshaped Dakar and left a lasting impression on a century of Senegalese cultural production.

This article, The Making of ‘Good’ Mirrors: Art and Activism in Public Space, discusses the Feminist and Indigenous methods I apply to co-created collaborative and relational portraiture projects expressly created for public space and semi-public space and how they act as art and activism. The discussed projects, created using still and moving image, work in resistance to the problem of the gendered aesthetic within the Australian context through the applied making methods within a social studio, the politics of representation and the public placement of the project’s products. Discussed projects include #IAMWOMAN (2017-current), Women Dreaming (2018) and Flipping the Script (2018).

Abstract This paper examines rural Ghanaian children’s creative performance of play songs in the context of recent scholarship on children’s rights in children’s literature. This scholarship, which has focused mainly on written literature in western contexts, seeks to give serious literary attention to children’s creative expression and thereby uphold their rights to contribute to the artistic life and culture of their societies. Kasena children of northern Ghana exhibit creative agency in adapting traditional play songs to new situations, as they re-create and reinterpret communal idioms, imagery and symbols, thus generating new forms, new concepts and new meanings. I illustrate the aesthetic qualities and transgressive features of this phenomenon by drawing on relevant indigenous Kasem concepts about art and creative resistance. If taken seriously, this dynamic heritage of children’s poetry can help us see emerging play genres as an affirmation of children’s creativity, and prompt a redefinition of ideas about childhood.

… Christianity became wholeheartedly an element of indigenous culture. The Christian miracle was a given integrated into daily life as it was into the landscape, space and time of thepueblo.Recent ethnohistorical trends point to a renewed interest in the complex interplay of beliefs and ritual practices that gave rise to multiple expressions of religiosity in different temporal and spatial settings of colonial America. Religion provides a rich thematic matrix for exploring the boundaries ofalteritébetween Amerindian and European actors and figures centrally, as well, in the internal development of different cultural and ethnic identities. Cosmology, understood as those systems of belief that bind individuals to their communities and to the wider universe, informs different peoples' concepts of time and their sense of history. The Maya of Yucatán, for example, integrated both linear and cyclical notions of time into their cosmic order in ways that rendered sensible their rhythms of accommodation and resistance to foreign domination. Moreover, cultural constructions of the past rely heavily on myths that fuse spiritual beliefs with ethnic claims to the land, as observed in the intricate connections between syncretic religion and the survival of ethnic polities in colonial Oaxaca. Ethnic rationalizations of space, it has been argued, underwrote particular aesthetic and cognitive approaches to spatial and temporal “mapping” which, in turn, brought a religious dimension to the notion of territoriality.

This article examines how visual artists contribute to popular politics, emergent subjectivities, and collective histories of resistance. Through artistic interventions in urban space, artists disrupt, reconfigure, and reimagine the dominant spatial order. Such struggles over public space and political and cultural expression are especially contentious in places like Oaxaca, Mexico, where militarization and government surveillance coincide with heritage tourism. Youth have been particularly effective in maintaining a dissident presence in the city, in large part due to their ability to produce spatial networks linking ephemeral spaces of direct actions and protest art with more territorialized spaces like social centers. This article specifically considers how visual artists active in social movements use their public art to signal popular resistance to state violence and corruption, make contemporary Indigenous peoples visible in urban space, and transform spaces of tourism, consumption, and militarism into “counterspaces” guided by alternative logics of sociality, politics, and temporality. They do so through a set of collective space-making practices and sensibilities I call rebel aesthetics.

The ratification by Ukraine of the Convention on Biological Diversity in 1994, the approval of the Interlaken Declaration in 2007, the Global Plan of Action on Farm Animal Genetic Resources and the Nagoya Protocol on Access to Genetic Resources and Fair and Equitable Benefit-Sharing, signed in 2012, imposes certain obligations to our country, especially concerning farm animal breed conservation. Indigenous breeds have considerable store of variability, high cultural, aesthetic and ecological value and should therefore be unequivocally preserved. The state of this issue in Ukraine and the place of Zubets Institute of Animal Breeding and Genetics of NAAS in the solution of the issue are covered in this article. The research was conducted using methodological approaches that are consistent with the Global Action Plan on Animal Genetic Resources, EU Directives, the current legislative framework for livestock in Ukraine, programs and plans of breeding of specific breeds and herds of farm animals. The degree of inbreeding was determined using the method of S. Wright in the modification of D. A. Kislovsky. Conservation of farm animal gene pool is a global issue and affair of certain international organizations, in particular FAO. In Ukraine M.V.Zubets Institute of Animal Breeding and Genetics has been actively engaged in the issue of conservation of biodiversity of farm animals during 1996–2017. By the decision of the Bureau of the Presidium of the UAAS on March 11, 2004 (protocol No. 3), the Institute of Animal Breeding and Genetics assigned to be the main institution for the organization and implementation of a new scientific and technical program "Preservation of farm animal gene pool". In 2004 there was prepared a "Report on the Status of Genetic Resources of Livestock in Ukraine: Materials for FAO" (authors: M. V. Zubets, V. P. Burkat, D. O. Melnychuk, O. I. Kostenko, Yu. F. Melnyk, I. V. Guzev, R. M. Schmidt, G. G. Omelyanenko, V. I. Drobot, V. A. Pidzhelkova, A.F. Gordin, M. V. Stompel) with the participation of the Institute of Animal Breeding and Genetics of the NAAS. To fulfill stated tasks, in 2006 the technology and methodology of breeding resources survey holding, breeding resources’ integrated assessment and identification of their economic and genetic specificity were proposed. According to the developed technology, in 2006–2010, 208 breeding herds of cattle, horses, sheep, pigs and poultry were surveyed. In the next year (2007), the Institute held a creative discussion "Problems of farm animal gene pool conservation." In the same year, the Institute workers (I. V. Guzev) took part in the International Scientific Conference "Conservation of Animal Genetic Resources in Poland and Europe" (Krakow, Poland), in 2009 – at the International Congress "On the Traces of Grey Podolic Cattle" (Matera, Italy), 2012 (S. I. Kovtun, N. L. Rieznykova) – in the workshop of the ERFP working group on the conservation ex situ "Legal and institutional arrangements for ex situ conservation at national level" (Zagreb, Croatia), 2016 (N. L. Rieznykova) – in a seminar on the conservation in situ and ex situ (Godöllo, Hungary). M. V. Zubets Institute of Animal Breeding and Genetics of NAAS in 2017 formed the request for the participation in the international project of FAO on the conservation and rational use of the Brown Carpathian cattle gene pool. The monitoring of the status of local small-scale and endangered farm animal breeds of different species on their number and number of breeding farms in Ukraine (2011–2017), according to the State Breeding Registry, revealed a tendency to the annual reduction of both the number of subjects of the breeding business in the relevant livestock sector and the general number of animals in breeds. According to the results of the analysis conducted amongst a large number of small-scale farm animal breeds in Ukraine, the most vulnerable populations were chosen on the basis of the number of females and breeding farms. In Ukraine Grey Ukrainian, Ukrainian Whiteheaded, Brown Carpathian, Lebedyn cattle breeds, Hutsul horse breed, Sokil sheep breed, Mirgorodian, Ukrainian Steppe Black-and-White and Ukrainian Steppe White pig breeds are going to disappear. Taking into account the above mentioned, the Program of conservation of local and endangered breeds of farm animals in Ukraine for 2017–2025, based on the initiative and direct participation of Zubets Institute of Animal Breeding and Genetics, has been developed. It requires the annual budget subsidy at the level of 22.01–42.85 mln. UAH. One of the methods of rational use and conservation of local, small-scale and indigenous farm animal breeds’ gene pool is the establishment of banks for long-term storage of biological material. Inventory of available resources of local cattle sperm was carried out. The bulls' sperm is stored at the Bank of Genetic Resources of Animals at M.V.Zubets Institute of Animal Breeding and Genetics of NAAS and nine enterprises of Ukraine. The level of inbreeding among local and endangered breeds was studied. It was established that the highest level of inbreeding is observed among the bulls of the Brown Carpathian breed. Amonst promising further scientific research directions are the next: expeditionary research on the availability of pure-blood animals in gene pool herds, identification of biological characteristics of indigenous animals’ products, estimation of cultural and aesthetic value, resistance level, adaptive ability, and the search for genetic markers of local, small-scale and disappearing breeds.

From 2011’s Occupy movements to the Umbrella Movement Hong Kong to the recent Climate March in September 2019, typified by Extinction Rebellion’s performative acts of resistance, there’s been an exponential increase in protests around the world. People move together en masse to challenge economic inequality and political ineptitude; they demand racial justice and action against climate change and Indigenous land rights. Ideally, protests and forms of direct action generate new ideas where the use of bodies in space become conduits to spark debate, bring awareness, with the hope to change the discourse about urgent issues. The visual power of many bodies speaking both to each other and to a larger public offers a space everyone can safely participate in the social imaginary. This paper considers Extinction Rebellion's graphic and performative aesthetics.

This article explores Kurdish–Iranian writer–filmmaker–activist Behrouz Boochani’s work, at the centre of which philosophical and aesthetic questions concerning displacement and defamiliarization fuel a rethinking of the tropes, practices and policies that mark the parameters of sanctuary, thus allowing its re-imagining from an environmentally informed, transcultural decolonial perspective. The article addresses the genre-crossing interdisciplinary framework of ‘horrific surrealism’, in Boochani’s book No Friend But the Mountains and his film Chauka, Please Tell Us the Time as well as other publications that together gesture towards re-conceptualizing sanctuary both on the basis of its historical associations and in visionary anticipation of its urgent renewal. The critical location of Boochani’s work in new conceptual islands off the mainland of thought enables a visible, embodied voicing that goes beyond haunting the oppressor in the struggle for more-than-human rights by proposing sanctuary in terms of relational, indigenously formed imaginaries of resistance disrupting the thanato-political, speciesist border-industrial complex.

This article explores nomadic site occupation as a form of planetary colonization involving both human and non-human agents. Conventional understandings of temporary occupation are often humancentric with little attention paid to the disruption of extant site ecologies and processes. The latter are particularly pressing concerns in nomadic settlements located in precarious landscapes. Taking the latter as its focus, this article engages the earth as an agent resisting its own colonization in the Australian-licensed squatter settlement known colloquially as Tin City. Located within the largest mobile sand dune structure in New South Wales, Tin City is an assemblage of several self-built fishing shacks accommodating a nomadic population. Its occupants engage in a daily battle against the shifting sands that threaten to subsume their temporary homes. Located in an area of significant indigenous heritage, the Tin City settlement has become a tourist attraction shrouded in local lore. Current discourses about it and its architectures generally focus on its unusual aesthetics, its contested sociopolitical histories and its ecology, with some discussion on the impacts of European colonization on the sand dune’s dynamic geomorphology. To concentrate on the latter, the article develops and deploys the posthumanist conceptualization of the earth posited by Iranian philosopher Reza Negarestani in his ficto-critical text Cyclonopedia: Complicity with Anonymous Materials. Negarestani ascribes the earth with sentient and agentic capacity, whilst the nomads who traverse its surfaces become the penultimate planetary colonizers. Tin City’s occupation thus becomes a story of colonization and resistance narrated by the earth itself, and a reminder that the production and consumption of architectural forms does not need to be confined to that which is conventionally human.

Since the overthrow of the Hawaiian Kingdom in 1893 and the subsequent illegal annexation of the Islands by the United States in 1898, Native Hawaiians (Kānaka Maoli) have vigilantly contested U.S. colonialism in Hawaiʻi and have resolutely sought to defend and affirm their existence as the still sovereign people of their homeland through political, legal, cultural, and artistic means. While the first three instances of indigenous resistance have been well documented in numerous books, journal articles, and theses, there remains a largely untapped field of academic enquiry concerning the role of contemporary Kanaka Maoli art within this milieu. This dissertation seeks to close the gap with an examination of how Native Hawaiian artists use the visual arts as a tool to assert their socio-political aspirations, affirm their sovereign identity, and disrupt the colonial status quo by representing themselves on their own terms. Here, the visual arts function as an abstract expression of Native power. As an analytical anchor, I use Tuscarora scholar Jolene Rickard’s term “visual sovereignty” to investigate three discrete contexts in which Kanaka Maoli art is produced: “high” art, commercial art, and public art. For the purpose of this study, I define visual sovereignty as an aesthetic strategy through which Kanaka Maoli artists articulate an indigenous-centered perspective that conveys Native epistemologies, ongoing political struggles, and ancestral connection to place. An examination of contemporary Kanaka Maoli art using this paradigm has not yet been advanced in the Hawai‘i context but a growing body of scholarship by Native American and First Nations academics and art practitioners indicates the indispensability of opening up a discussion that attends to Kanaka Maoli visual culture as an articulation of indigenous sovereignty. This thesis is a nascent step toward that end.

This dissertation examines the transformative and decolonizing potential of Indigenous art-making and creativity to resist ongoing forms of settler colonialism and advance Indigenous nationhood and resurgence. Through a transdisciplinary investigation of contemporary Indigenous art, aesthetics, performance, music, hip-hop and remix culture, the project explores indigeneity’s opaque transits, trajectories, and fugitive forms. In resistance to the demands and limits imposed by settler colonial power upon Indigenous artists to perform indigeneity according to settler colonial logics, the project examines creative acts of affirmative refusal (or creative negation) that enact a resistant force against the masked dance of Empire by refusing forms of visibility and subjectivity that render indigeneity vulnerable to commodification and control. Through extensive interviews with Indigenous artists, musicians, and collectives working in a range of disciplinary backgrounds across Turtle Island, I stage an Indigenous intervention into multiple discursive forms of knowledge production and analysis, by cutting into and across the fields of Indigenous studies, contemporary art and aesthetics, performance studies, critical theory, political philosophy, sound studies, and hip-hop scholarship. The project seeks to elaborate decolonial political potentialities that are latent in the enfolded act of creation which, for Indigenous artists, both constellate new forms of community, while also affirming deep continuities within Indigenous practices of collective, creative expression. Against the colonial injunction to ‘represent’ indigeneity according to a determinate set of coordinates, I argue that Indigenous art-making and creativity function as the noise to colonialism’s signal: a force capable of disrupting colonial legibility and the repeated imposition of the normative order. Such force gains power through movement and action; it is in the act of turning away from the colonial state, and toward one another, that spaces of generative indeterminacy become possible. In the decolonial cypher, I claim, new forms of being elsewhere and otherwise have the potential to be realized and decolonized.
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From their earliest encounters in the Americas, Europeans struggled to make sense of the words spoken by the numerous indigenous tribes that surrounded them. Unscripted America recounts a colonial struggle between peoples of European descent who aspired to map native languages according to Christian and Enlightenment cosmologies and indigenous resistance to this ascribed meaning. Unscripted America reconstructs an archive of indigenous language texts in order to present a new account of their impact of comparative philology on the formation of US literary culture. American Indian language texts reveal poignant and contradictory histories of preservation through erasure: each stands as a record of colonial destruction as well as an archive ready for recovery and recuperation. Unscripted America places American Indian languages within transatlantic intellectual history, while also demonstrating how American letters emerged in the 1810s through 1830s via a complex and hitherto unexplored engagement with the legacies and aesthetic possibilities of indigenous words. What scholars have more traditionally understood through the Romantic ideology of the noble savage, a vessel of antiquity among dying populations, was in fact a palimpsest of still-living indigenous populations whose presence in American literature remains traceable through words.

Andrew Stones accounts in this chapter for the ways in which relative and absolute deterritorialisation are used strategically by indigenous activists and theorists. In particular, he thinks about the relations between struggles ‘for’ freedom – or against the structure of domination – and struggles ‘of’ freedom – or struggles that take place within the structure of domination. Turning to examples of both anarchist and indigenous struggles in India, Africa and Australia, he shows how Deleuze’s concepts of ‘relative’ and ‘absolute’ deterritorialisation offer concrete strategic resources for resistance to settler colonialism.

How do popular communities self-represent and engage in resistance against unfavourable situations? This chapter explores the relationship between visual artistic experiences of popular sectors, their disputes in and about the community, and the possibilities of activating imaginaries of community resistance. In so doing, it draws on two experiences: the political muralism of the población (shantytown) La Victoria in Santiago de Chile, an emblematic neighbourhood known for its organized takeover of land (1957) and for its resistance against the Chilean dictatorship (1973-1989); and the murals and graffiti produced by the inhabitants of the Favela Santa Marta, the shantytown-laboratory of the pacification process (2008) that preceded the sports mega-events in Rio de Janeiro. We highlight how both neighbourhoods are exemplars in terms of their paths of struggle, and in terms of being epicentres for popular occupation strategies that have been fundamental to the configuration of both cities. Muralism, in this way, appears not only as an indigenous form of expression of and by the community, but also as an aesthetic space or form that reflects ongoing disputes about what should be portrayed as reflecting that community.

Candida Rifkind and Jessica Fontaine analyze how the multimodal narrative (comic, animated video, and vocal recording) of the tragic murders of Tina Fontaine and Faron Hall create an alternative history and aesthetics of resistance; that the violence against Indigenous youth necessitates the creating of such multimodal narratives to enact a “politicized practice of empathetic witness.”