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1
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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3
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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4
Breon, Robin, and Brenda Kamino. "Strategies for Survival / 2: Funding for Visible Minorities: A Minority Within a Minority." Canadian Theatre Review 63 (June 1990): 10–14. http://dx.doi.org/10.3138/ctr.63.002.
Повний текст джерелаАнотація:
Artists are, by and large, a minority within any given society. And artists as a group – actors, dancers, playwrights, filmmakers, visual artists, etc. – enjoy far less by way of salary and benefits, job security, pensions, and seniority rights than the average unionized worker on the assembly line. The smaller artistic ensembles, be they theatre companies, dance groups, or multidiscipline collectives, face increasingly difficult times. Yet, historically it has been the smaller companies – who constitute the overwhelming majority in terms of numbers – that have produced some of the most provocative and original work and have consistently acted as vital artistic tributaries providing training, development, and high quality programming that eventually flows into the mainstream cultural institutions.
5
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
8
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.
Повний текст джерелаАнотація:
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.
9
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.
Повний текст джерелаАнотація:
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.
10
Deng, Xiaoying, and Xingmei Xu. "Analysis of the Formal Language in Contemporary Minority Nationality-Themed Fine Brushwork Figure Painting." Economic Society and Humanities 1, no. 1 (January 2024): 61–65. http://dx.doi.org/10.62381/e244111.
Повний текст джерелаАнотація:
Minority nationality-themed fine brushwork figure paintings, focusing on the portrayal of ethnic minority people, represent a unique genre dedicated to depicting the spirit of ethnic minority people. It occupies a distinctive niche within the broader continuum of Chinese art, carrying forward the creative passion and artistic pursuit of each generation of fine brushwork artists towards minority culture. With the progress and development of the times, classic works have always been the treasure of artistic creation in this genre. These thematic paintings manifest profound artistic expression and regional characters, especially exhibiting ethnic distinctiveness in their formal language. To be outstanding, creators must achieve a comprehensive understanding of the formal language of this genre, thus only by respecting the cultures of the minority areas and optimizing the creation can this type of painting innovate and develop, staying true to its roots while encouraging innovation.
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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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
13
Adams, Jacqueline. "When Art Loses its Sting: The Evolution of Protest Art in Authoritarian Contexts." Sociological Perspectives 48, no. 4 (December 2005): 531–58. http://dx.doi.org/10.1525/sop.2005.48.4.531.
Повний текст джерелаАнотація:
Change in art is an understudied topic in sociological research. This article examines protest artworks ( arpilleras) produced by shantytown women during and shortly after the dictatorship in Chile, to explore the question why political art that is for sale changes over time. This research is based on 136 semi-structured and in-depth interviews with various members of the art world in Chile, Europe, and the United States, a year's worth of participant observation of art groups in Santiago and over five hundred photographs of arpilleras, taken by the author and analyzed thematically. Political art that is for sale can change because the intermediary (the organization connecting producers and buyers) becomes less or more politically conservative, develops a precarious financial situation, grows more afraid of repression, and has the power to enforce the changes it desires; because the original buyers are replaced with new buyers with different motivations; and because new artists with new ideas begin making the art, one artist in the group produces something different and the idea spreads, artists censor themselves, and artists have new experiences or learn about new events. Through these sources of change, international social movements, local and international political and economic developments, and global institutions impact the art. Meanings attached to the art by the different parties (intermediaries, buyers, and artists) and class differences between artists and intermediaries are also important in facilitating change. These findings, based as they are on political art made in a repressive context, not only contribute to our understanding of artistic evolution but they help correct the bias in the sociology of art toward “art” made in democratic countries of the “First World.” They are not just applicable to authoritarian regimes but also to art by politicized minority groups in democratic contexts, and to other cultural products such as newspapers, magazines, documentaries, and books.
14
Migliaccio, John N. "THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXVI." Innovation in Aging 3, Supplement_1 (November 2019): S786. http://dx.doi.org/10.1093/geroni/igz038.2891.
Повний текст джерелаАнотація:
Abstract This 26th annual symposium again showcases a world-wide musical genre in a regional setting with local performers. Texas Blues has emanated from a pantheon of talented artists beginning in the earliest days of Roots and Blues music to the present day, and Austin has become the epicenter of this talent and music. With legendary classic blues musicians from the early 2oth century to emerging younger musicians who re-energize and re-invent this uniquely American musical genre, to legendary music labels and venues like Antone’s which continue to engage blues music artists of all ages, Austin continues to be the home of Texas Blues. Lifetime Achievement Award -winning 89-year-young, Miss Lavelle White epitomizes the resilience and energy interchange of both the performer and the music, and their mutual contribution to longevity and continued engagement. Still performing after 70 years, she has influenced generations of younger prominent blues performers and continues to appear weekly at local blues mecca Antone’s along with her Grammy Award winning band and is preparing her fourth album release. This session will celebrate her music, her artistry, and her continued success as an older blues performer. A visit to a local blues venue later in the evening will allow for a true appreciation of the blues music scene in Austin.
15
Nijhoff, Michiel. "Optimism and enthusiasm – and doubts: from UDC towards hybrid cataloguing in the library of the Stedelijk Museum Amsterdam." Art Libraries Journal 36, no. 4 (2011): 50–52. http://dx.doi.org/10.1017/s0307472200017211.
Повний текст джерелаАнотація:
UDC was used in the library of the Stedelijk Museum until 1994, but initially only for a small minority of the books: those that were neither monographs nor exhibition catalogues. With the introduction of an automated system UDC was thrown overboard, books were shelved by size, and the catalogue now works with a thesaurus (more like a keyword list) loosely based on the AAT. Most questions from customers are for artists’ names, so that is the focus of the indexing effort, even for group exhibitions involving up to 30 or 40 names, while for the Stedelijk’s own catalogues, all the artists are always indexed.
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Handoko, Cons Tri. "ANALISIS TANDA PADA POSTER KAMPANYE ANTI DISKRIMINASI 'GUERRILLA GIRLS' DI BIDANG SENI , SOSIAL, POLITIK DI AMERIKA SERIKAT." Jurnal Dimensi Seni Rupa dan Desain 7, no. 1 (September 1, 2009): 41–54. http://dx.doi.org/10.25105/dim.v7i1.1129.
Повний текст джерелаАнотація:
AbstractThis article studied about a group of artists named " Guerilla Girls" . Their initial mission is seek for balanced honors of artworks which made by women artists as equivalent to men artists. Their campaign idea continues to every social gap aspects which happened to women. This article described the meaning of signs which appears in verbal and visual form messages in their campaigan posters, analyzed with Roland Barthen's semiotics approach. The conclusion shows that form the verbal and visual forms of the posters, they are not just about women rights but also for wider importance , to honor minority rights and public awareness about social problems which still happen in United States of America AbstrakTulisan ini mengetengahkan tentang sebuah kelompok seniman yang menamakan dirinya " Guerilla Girls" . Misi awal mereka adalah menuntut kesamaan penghargaan terhadap karya seni yang dihasilkan oleh para seniman perempuan sama sepereti halnya seniman laki-laki. Ide kampanye mereka kemudian berlanjut juga ke semua aspek kesenjangan sosial yang dirasakan oleh kaum perempuan. tulisan ini mendeskripsikan makna tanda yang muncul pada pesan verbal dan visual yang terdapat pada poster kampanye mereka, dikupas dengan pendekatan semiotika Roland Barthens. Hasilnya menunjukkan bahwa ditinjau dari bentuk pesan verbal dan visualnya karya-karya poster tersebut bukan sekedar berisi tentang pemenuhan hak-hak kaum perempuan namun juga untuk kepentingan yang lebih luas yakni penghargaan terhadap hak-hak minoritas dan penyadaran publik akan permasalahan sosial yang masih terjadi di Ameriak Serikat
17
Forrester, Shannon. "Painting from the Other Side: Tracing the Reparative Turn in Contemporary Practice." Art/Research International: A Transdisciplinary Journal 5, no. 1 (February 28, 2020): 116–47. http://dx.doi.org/10.18432/ari29486.
Повний текст джерелаАнотація:
Painting from the Other Side, is the curatorial project section of a larger interdisciplinary practice-led research project titled Embodying the Reparative Turn: Seeking Agency through Studio Practice in Individual and Collective Contexts that investigates the potential of the reparative turn in painting, aesthetics, narrative, and curation to subvert, evade, and exit from dynamics of exclusion linked to homophobia, misogyny, and racism. It considers how systemic cultural agents propagating exclusion deploy inequity to obstruct human flourishing, then explores how they are subverted through diverse reparative practices in painting. Painting from the Other Side included an open call for paintings that engage with reparative content by artists whose identities are in some way outside of the minority power position of the Western canon of painting by straight white male artists. It included intensive studio visits and culminated in an exhibition. This paper proposes a theoretical framework of reparative painting and practice, tracing the many paths research-participant artists followed towards a reparative turn in painting.
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May, Robert E. "Culture Wars: The U.S. Art Lobby and Congressional Tariff Legislation during the Gilded Age and Progressive Era." Journal of the Gilded Age and Progressive Era 9, no. 1 (January 2010): 37–91. http://dx.doi.org/10.1017/s1537781400003789.
Повний текст джерелаАнотація:
From 1883 to World War I, disputes over art tariffs roiled America's art community, drawing preeminent painters, sculptors, architects, and illustrators into national lobbying campaigns. This essay exposes artists’ agency in tariff politics, illuminates their ideologies, and explains congressional debates, legislation, and diplomacy regarding U.S. art schedules, while demonstrating how the art tariff imbroglio often challenged longstanding partisan patterns in Washington with respect to tariff protectionism. It also contributes to Atlantic world studies by exploring how artists’ anti-tariff positions derived from transoceanic systems of art pedagogy and exhibitions and by showing how protectionists (including a minority of artists) capitalized upon persistent popular stereotypes of national cultural inferiority. Finally, this essay argues that growing disparities of wealth and class sensitivities increasingly affected turn-of-the-century tariff discourse. Protectionists demanded punitive retribution against the international collecting activities of America's ostentatious plutocrats; free-art proponents craved tariff reforms for the didactic purpose of elevating popular taste through exposure to European masterworks.
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Kambua, Carol. "Exploring the Impacts of Artistic Expression on Minority Communities in East Africa." American Journal of Arts, Social and Humanity Studies 3, no. 1 (June 15, 2023): 1–10. http://dx.doi.org/10.47672/ajashs.1499.
Повний текст джерелаАнотація:
Purpose: The aim of this study is to explore the impact of artistic expression on minority communities in East Africa.
Methodology: The study adopted a desktop research methodology. Desk research refers to secondary data or that which can be collected without fieldwork. Desk research is basically involved in collecting data from existing resources hence it is often considered a low-cost technique as compared to field research, as the main cost is involved in executive’s time, telephone charges and directories. Thus, the study relied on already published studies, reports and statistics. This secondary data was easily accessed through online journals and library.
Findings: The findings revealed that there exists a contextual and methodological gap relating to the impact of artistic expression on minority communities in East Africa. Preliminary empirical studies have shed light on the positive outcomes of artistic expression, including increased self-confidence, enhanced cultural awareness, improved mental well-being, and social cohesion within minority communities.
Unique Contribution to Theory, Practice and Policy: The Critical Race Theory, Cultural Hegemony Theory, and Intersectionality Theory may be used to anchor future studies on the Impacts of Artistic Expression on Minority Communities in East Africa. Efforts should be made to provide accessible and affordable opportunities for minority individuals to engage in artistic expression. Moreover, governments, foundations and organizations should provide financial and institutional support for arts-based initiatives targeting minority communities. This includes funding for community arts programs, scholarships for aspiring minority artists, and grants for community-based arts organizations.
20
Nærland, Torgeir Uberg. "Altogether now? Symbolic recognition, musical media events and the forging of civic bonds among minority youth in Norway." European Journal of Cultural Studies 22, no. 1 (August 21, 2017): 78–94. http://dx.doi.org/10.1177/1367549417719013.
Повний текст джерелаАнотація:
Drawing upon interviews with a group of minority youth in Norway, this study argues that recognition theory offers a valuable yet neglected perspective through which we can identify and understand key social and civic dimensions of minority audiences’ media reception. Empirically, the study concentrates on the reception of musical media events in which hip hop artists and performances were prominent. Through empirical examples, this article illustrates how the reception of these media events for the informants entailed experiences of recognition that in turn engendered feelings of symbolic inclusion. Based on the interview data, this study argues that media events constitute ‘moments of recognition’ where dynamics of recognition are intensified. The study further argues that given the politically charged context, music may function as the expressive raw material for what is termed ‘musically imagined civic communities’.
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Boyd, Herb. "The Public James Baldwin." James Baldwin Review 2, no. 1 (December 13, 2016): 197–200. http://dx.doi.org/10.7227/jbr.2.12.
Повний текст джерелаАнотація:
As this essay notes, James Baldwin, his words and metaphors, pervade public space at countless numbers of intersections. Lines from his plays, novels, and essays have always been an easy and handy reference for writers and artists seeking ways to ground their intentions with deeper meaning and magic. Even in a minority opinion on 22 June 2016 written by Supreme Court Justice Sonia Sotomayor, she cited several authors, including Baldwin, to underscore her point on the Court’s abrogation of the Fourth Amendment.
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Saunders, Grant Leigh, and Rachael Gunn. "Australia." Global Hip Hop Studies 3, no. 1 (December 1, 2022): 23–32. http://dx.doi.org/10.1386/ghhs_00060_1.
Повний текст джерелаАнотація:
In this contribution, we provide a brief overview of the development of Hip Hop culture in Australia, looking specifically at rap and breaking (breakdancing). We show how Australian rap has for a long time been dominated by white Australian artists attempting to solidify an Aussie Hip Hop identity distinct from the United States. Because rap from Indigenous and Culturally and Linguistically Diverse (CaLD) communities did not fit the tropes of dominant (white) Australian culture, and were instead disregarded as simple mimicry of African American rap, the gatekeepers of Aussie Hip Hop for a long time locked out these minority artists. This created a divide in the rap scene that reflected broader Australian racial politics. In contrast, the breaking community has historically been more inclusive and reflective of a multicultural Australia, and has been more connected with the breakers of North America, Europe and Asia. In this contribution, we demonstrate how Australian Hip Hop has evolved over the past two decades to be more culturally inclusive, supported by key Australian artists, community radio, social media and finally validated by the Australian music industry as a distinct musical genre worth celebrating.
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Illés, Barbara. "A roma képzőművészet korunk modernitásának kontextusában." Belvedere Meridionale 30, no. 3 (2018): 92–104. http://dx.doi.org/10.14232/belv.2018.3.5.
Повний текст джерелаАнотація:
The objective of the current paper is defining of the notion of fine art of the Roma minority with an overview of its short history as for the largest population of ethnicity who more than six centuries living in Hungary. Apart from the definition of Roma Art, I am discussing the processes of change and the self-representation of the present, mainly from the aspect of the artist, the ethnic classification of Roma identity through self-confessions. I set up the Roma Art scene based on traditions, then the Modern Hungarian-Roma Fine Arts that emerged from it, and finally define the categories of Professional Fine Art in relation to each other and to their association with Hungarian Fine Art and European Gypsy Art and Universal Art. Apart from the interpretation of Roma Art, the study offers an opportunity for contemporary artists to get more accurate and detailed knowledge and to understand and evaluate their works more closely and sophisticated.
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Abdel-Rahman, Susan M., Nicole McClure Kurlbaum, and Stan Fernald. "Scientists, Students, and Crowds: A Collaboration to Improve Health Literacy." World Journal of Social Science 5, no. 1 (October 9, 2017): 1. http://dx.doi.org/10.5430/wjss.v5n1p1.
Повний текст джерелаАнотація:
Where language and literacy barriers exist, medical researchers continue to do a poor job of ensuring access toclinical trials. Feedback from key stakeholders suggests that incorporating visual aids into the consent process canfacilitate enrollment of neglected populations. This study was initiated to examine whether a collaboration between ateaching hospital and fine arts institution that introduced the topic of health literacy to student artists could be used togenerate medical research-related images. Crowdsourcing was used to examine the effectiveness of the illustrationsand provide students with feedback from a lay audience. Twenty-five student artists and 184 survey respondentsparticipated in this study. Combined positive ratings of “very” or “fairly” effective ranged from 5-91% whilenegative ratings of “slightly” or “not” well ranged from 5-89%. Collaborations, as explored in this paper, canpromote minority awareness and provide a novel mechanism by which to communicate complex research-relatedconcepts to patients with limited literacy.
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Migliaccio, John, and Michael Marcus. "THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXIX." Innovation in Aging 6, Supplement_1 (November 1, 2022): 404. http://dx.doi.org/10.1093/geroni/igac059.1590.
Повний текст джерелаАнотація:
Abstract The “ ’Bo Diddley’ Track”; GSA, 2022 Indianapolis, INLIndianapolis has been described as “The Crossroads of America,” with a long history of fostering the music and entrepreneurial spirit of Black Americans. Starting in 1915 with Mrs. C.J. Walker, America’s first female millionaire and her cosmetic enterprise, and the Starr Piano Company and its Gennett Records Studio – identified as “The Cradle of Recorded Jazz” in the 1920s and 30s – both were instrumental in national distribution of the works of the earliest blues, jazz, country, and gospel artists including Louis Armstrong, King Oliver, Alberta Hunter, and Charlie Patton among others.Indianapolis continues to host a thriving Blues music community, and will host the 29th consecutive year of GSA’s “Bo Diddley Track” with local older minority musicians, one of GSA’s most popular and fun events. This year will feature a lecture, interview, and mini-performance with leading local blues musicians exploring their life, influences, music and resilience, followed by a typically raucous live blues performance that evening at a local blues hot-spot, with prizes for the first 50 GSA attendees. This has been going on for 29 years for a reason, folks---don’t miss it!
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Migliaccio, John. "THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXIX." Innovation in Aging 6, Supplement_1 (November 1, 2022): 404. http://dx.doi.org/10.1093/geroni/igac059.1591.
Повний текст джерелаАнотація:
Abstract The Blues and Older Minority Musicians: More Than Just Music XXIXThe “ ’Bo Diddley’ Track”; GSA, 2022 Indianapolis, INLecture/Interview/ Performance: TBAIndianapolis has been described as “The Crossroads of America,” with a long history of fostering the music and entrepreneurial spirit of Black Americans. Starting in 1915 with Mrs. C.J. Walker, America’s first female millionaire and her cosmetic enterprise, and the Starr Piano Company and its Gennett Records studio – identified as “The Cradle of Recorded Jazz” in the 1920s and 30s – both were instrumental in national distribution of the works of the earliest blues, jazz, country, and gospel artists including Louis Armstrong, King Oliver, Alberta Hunter, and Charlie Patton among others.Indianapolis continues to host a thriving Blues music community, and will host the 29th consecutive year of GSA’s “Bo Diddley Track” with local older minority musicians, one of GSA’s most popular and fun events. This year will feature a lecture, interview, and mini-performance with leading local blues musicians, followed by a typically raucous live blues performance that evening at a local blues hotspot, with prizes for the first 50 GSA attendees. This has been going on for 29 years for a reason folks---don’t miss it!
27
Shtang, Sivan Rajuan. "A Natural-Worker Leaves the Colonial Visual Archive: The Art of Vered Nissim." Arts 12, no. 4 (July 28, 2023): 167. http://dx.doi.org/10.3390/arts12040167.
Повний текст джерелаАнотація:
The colonial visual archive has occupied in recent decades the work of scholars and artists from indigenous and racial minority communities, who revealed it as a major apparatus of historical meta-narratives. This article aims at pushing forward this preoccupation by revealing an additional scene: the art of Mizrahi women, descendants of Jewish communities of Arab and Muslim countries. Relying on a visual culture approach and focusing on an analysis of artworks by Mizrahi artist Vered Nissim, as well as on photographs of Mizrahi women, fund in Zionist archives, I demonstrate how Nissim’s work challenges the racial category of Mizrahi women as “natural workers”, constructed in the Zionist historical meta-narrative. Nissim does so by re-enacting the category’s paradigmatic visual image—the Mizrahi women cleaning worker—in a different way, visually and discursively. Body, voice, and visual image, three instances of the subjectivity of Mizrahi women cleaning workers that were separated, shaped, and mediated through Zionist colonial visual archives unite in Nissim’s work when embodied by a real Mizrahi woman cleaning worker: her mother, Esther Nissim. By casting her mother to play herself over the past twenty years, Nissim creates political conditions for the appearance of her mother as the author of her own history as she orally, bodily, and visually writes it in front of her daughter’s camera. Thus, Nissim joins a transnational phenomenon of global south artists who create political conditions enabling the self-imaging of colonized peoples, empowering the reading of colonial imagery and the historical meta-narratives attached to it through their situated knowledge and lived experience and, thus, constructing a counter history communicated visually.
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Dubiel, Monika. "The Blind Side of Art: Visual Impairment as a Resource in the Work of Mexican Artists." Przegląd Socjologii Jakościowej 18, no. 3 (August 31, 2022): 120–37. http://dx.doi.org/10.18778/1733-8069.18.3.07.
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Disability studies is a dynamically developing discipline; however, it usually focuses on the Anglophone world. Scholars representing this field often concentrate on deconstructing popular stereotypes and revealing hidden systemic discrimination. Although more and more initiatives are taken up – such as disability pride – it seems that an affirmative approach to disability remains in the minority. This article is a proposal for going beyond the mentioned schemes. Entering the area of the Latin American culture, I try to verify whether the findings of disability studies can be confirmed there. Proposing the interpretation of dis-ability in terms of resource, I want to broaden the affirmative perspective on disability. This paper aims at a critical reflection on the creative potential of visual impairment used by blind and low-vision Mexican artists in the creative process. Driving upon the research conducted between 2020 and 2022, I argue that they use their visual impairment as a resource in their artistic activity. I distinguish four aspects of the functioning of visual impairment as a resource in artistic work: inspiration, representation, non-ocularcentric imagination, and accessibility.
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Chen, Feng. "Performing race and remaking identity: Chinese visual artists in New York during the COVID-19 pandemic." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 201–25. http://dx.doi.org/10.1386/jcca_00062_1.
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The mass shooting in Atlanta that killed eight people including six Asian women in March 2021 marked the new peak of the unceasing waves of anti-Asian violence since the outbreak of COVID-19 in the United States. In this context, this article examines how a group of Chinese visual artists in New York perform and remake their Asian identity on social media in response to a surge in hatred towards and violence against Asians in the United States following the outbreak of COVID-19. Based on my analysis of their visual rhetoric and media activism, I identify three approaches that this group of Chinese visual artists use to perform and remake their Asian identity. First, they performed their Asian identity by developing various visual rhetorics to combat and denounce anti-Asian discourse and hate crime. Second, their Asian identity emerged when they created new visual rhetoric to reimagine what it meant to be Asian in the United States. The new visual rhetoric enriched the understanding of Asian-ness and diversified the experiences of being Asian in the United States by overtly or subtly challenging Asian stereotypes as a product of the western imagination. Lastly, they claimed their Asian identity through seeking racial justice in a larger social context in collaboration with other racial minority groups.
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Park, Ye Nim. "A Study on overcoming trauma through the concept of family in contemporary photography: focusing on the works of Nan Goldin." Korea Institute of Design Research Society 8, no. 1 (March 30, 2023): 601–10. http://dx.doi.org/10.46248/kidrs.2023.1.601.
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Creative activities often act as a tool to overcome trauma for artists. Nan Goldin is an American photographer who was first introduced in New York in the 1970s and 1980s for documenting intimate daily life of herself and friends who were part of bohemian and LGBTQ(Lesbian Gay Bisexual Transgender Queer) minority cultures. Nan started photography to overcome the trauma caused by her sister’s death. Leaving home, she formed a new concept of family and recorded their daily life in the form of a diary. Through understanding Nan Goldin's childhood and concept of family, the thesis analyzes narrative techniques, subject matters, and colors used in work. Viewers gain sympathy and comfort in an unfamiliar way through Nan Goldin’s daily record.
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Voisin, Camille. "Attitudes des francophones du Nouveau-Brunswick à l'égard du Chiac." Travaux neuchâtelois de linguistique, no. 64 (January 1, 2016): 101–19. http://dx.doi.org/10.26034/tranel.2016.2929.
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Although New Brunswick is Canada's only officially bilingual province, French-speaking persons represent a minority and are often left apart. They are mainly concentrated in three areas: the northwest (at the border with Quebec), the northeast, called ʺAcadian Peninsulaʺ, and the southeast, in the Greater Moncton area, where the two languages cohabit more closely. This contact situation, which seems to have led the French-speaking inhabitants of Moncton to experience linguistic insecurity, also gave birth to a new variety, called ʺchiacʺ. This article focuses on the speakers' attitudes towards that variety, which seems to have been stigmatized in the past. Through a field study in which we used questionnaires, we determined that it is nowadays more accepted than it was before, partly due to the action of the local media and artists.
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Panopoulos, Panayotis. "Deaf voices / Deaf art: Vocality through and beyond sound and sign1." Journal of Interdisciplinary Voice Studies 6, no. 1 (April 1, 2021): 9–26. http://dx.doi.org/10.1386/jivs_00034_1.
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Do we have a voice if we don’t speak a language? How does the voice of a sign language look like? What do we learn about vocality when we turn our ears and eyes towards deaf voices and the sign languages of the deaf? How can you make others hear the voice of a ‘silent’ minority? And what about ventriloquism, vocal interiority and acousmatic voice in the case of the deaf? By focusing mainly on the ways of the deaf with voice, especially as they materialize in the work of deaf artists using sound as the main material of their art-making, in this article I approach the significance of deaf vocalities for a wider understanding and experience of sound and voice for both the deaf and the hearing. The work of deaf artists working with sound and voice is an acoustic, vibratory, interpretive and activist lens through which we can get parallax views of our common assumptions about the vocal and listen to modulated renderings of our common conceptions of vocality. Through their investigations of the vocal and the sonic, deaf artists explore the deep roots of the metaphorical and symbolic valence of the vocal trope, while they steadily argue for alternative voices, non-acoustic, vibrational sonorities, through sign, motion, space, contact. Their experimental works unravel the experiential, metaphorical and theoretical facets of voice and sound, while they also project vocality onto other modes of communication and sociality, mainly sign and embodied ways of physical movement, thus extending the notion of voice to include sign languages and non-vocal communication. Deaf voices reveal a whole new field of questions on voice and agency, through and beyond sound and sign.
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Goršič, Niko. "To the last breath." Maska 31, no. 181 (December 1, 2016): 146–49. http://dx.doi.org/10.1386/maska.31.181-182.146_7.
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While still a student of sociology, Damir Domitrović co-founded Club B-51 on Gerbičeva Street, a nexus of the subculture in Ljubljana. In 1991, during the beginnings of the wars in former Yugoslavia, he conceived the B-51 Cultural Society, then two years later started the EX PONTO festival as a sort of creative-spiritual meeting point of refugee artists from the Balkan Wars. In the 22 years since, it has grown into an important international festival of the performing arts. He supported the Rajvosa project, which was dedicated to the Bosnian minority community in Slovenia, was an instigator of the Kluže festival at the tri-border of Slovenia, Italy and Austria, and in 2005 co-founded the New European Theatre Action (NETA), the largest theatre network in South-Eastern Europe, which today encompasses 68 festivals and theatres in 20 countries.
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Rijo Sánchez, Amaury J. "“Festival y Protesta”: The Integral Role of Protesting State Violence in Celebrating Puerto Rican Women and Feminists." Societies 13, no. 12 (December 5, 2023): 251. http://dx.doi.org/10.3390/soc13120251.
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Eradicating the mistreatment of Puerto Rican women and people that local and U.S. governments enact has been a major transformative goal for Puerto Rican feminist movement communities. The celebration of International Working Women’s Day presents optimum opportunities for organizations to celebrate and make visible the monumental achievements of Puerto Rican women and people. Similarly, they foster the opportunity to strategically protest the large-scale and harmful attacks of the United States and Puerto Rico’s (abbreviated throughout as U.S. and P.R.) governing double-bind onto minority Puerto Rican populations. Feminist activists, protesters, artists, and attendees collaborate in performances, speeches, and overall programming, resulting in dually celebratory and protest-based marches. Further, the multifaceted approach to protesting observed at the celebration of International Working Women’s Day shines light on decolonial and feminist efforts that bring about social justice and transformation. This article analyses ethnographic data collected through participant observation in one march held in Puerto Rico, as well as a small archive of news articles relating to said march. Results reflect strategic forms of organizing and protesting that exercise activists’ agency in communication with the government and state. Further, they show the demand for accountability and action in favor of minority Puerto Rican populations. Simultaneously, the results also shine a light on the synergistic character of state and government approaches to minimize the impact of activist protesting.
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Ponterotto, Joseph G., Jason D. Reynolds, Samantha Morel, and Linda Cheung. "Psychobiography Training in Psychology in North America: Mapping the Field and Charting a Course." Europe’s Journal of Psychology 11, no. 3 (August 20, 2015): 459–75. http://dx.doi.org/10.5964/ejop.v11i3.938.
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Psychobiography holds an important position in the history of psychology, yet little is known about the status of psychobiographical training and dissertation research in psychology departments. This brief report identified psychobiography courses throughout North America and content analyzed a sample of 65 psychobiography dissertations to discern the theories and methods that have most commonly anchored this research. Results identified few psychology courses specifically in psychobiography, with a larger number of courses incorporating psychobiographical and/or narrative elements. With regard to psychobiography dissertations, the majority focused on artists, pioneering psychologists, and political leaders. Theories undergirding psychobiographical studies were most frequently psychoanalytic and psychodynamic. Methodologically, a majority of the dissertations were anchored in constructivist (discovery-oriented) qualitative procedures, with a minority incorporating mixed methods designs. The authors highlight the value of psychobiographical training to psychology students and present avenues and models for incorporating psychobiography into psychology curriculums.
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Wu, Ellen D. "““America's Chinese””: Anti-Communism, Citizenship, and Cultural Diplomacy during the Cold War." Pacific Historical Review 77, no. 3 (August 1, 2008): 391–422. http://dx.doi.org/10.1525/phr.2008.77.3.391.
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With the onset of the Cold War, the federal government became concerned with the impact that the status and treatment of Chinese Americans as a racial minority in American society had on perceptions of the United States among populations in the Asian Pacific. As a response, the State Department's cultural diplomacy campaigns targeting the Pacific Rim used Chinese Americans, including Betty Lee Sung (writer for the Voice of America) and Jade Snow Wong and Dong Kingman (artists who conducted lectures and exhibitions throughout Asia). By doing so, the government legitimated Chinese Americans' long-standing claims to full citizenship in new and powerful ways. But the terms on which Chinese Americans served as representatives of the nation and the state——as racial minorities and as ““Overseas Chinese””——also worked to reproduce their racial otherness and mark them as ““non-white”” and foreign, thus compromising their gains in social standing.
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Kupidura, Ryszard. "Representing the Ukrainian Migration Experience: From a Cultural Monologue Towards Interculturality." Porównania 34, no. 2 (December 29, 2023): 153–65. http://dx.doi.org/10.14746/por.2023.2.11.
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The text is devoted to literary, theatrical and film representations of the Ukrainian migration experience in Poland. The author notes that current artistic strategies, contrary to the intentions of Polish writers/artists, often reinforce stereotyping patterns of reception of the Other and unconsciously postulate an essentialist project of portraying a “real Ukrainian woman/man.” On the other hand, Ukrainian voices are increasingly heard in Polish space, which provides an opportunity not only to work through painful traumas from the past, but, due to the constant presence of Ukrainian co-residents, also to develop competences in recognizing mutual cultural codes, which in turn creates an opportunity to avoid generating new traumas in the future. The author devotes separate attention to the multidimensional Ukrainian-Ukrainian dialogue taking place in recent years in the territory of Poland, in other words, to the relations between the Ukrainian minority and Ukrainian migrants.
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Szenkovics, Dezső. "Huszti Györgytől Brunner Erzsébetig: magyar–indiai kultúrkapcsolatok az évszázadok tükrében." Modern Geográfia 17, no. 2 (April 2022): 45–65. http://dx.doi.org/10.15170/mg.2022.17.02.04.
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Throughout their history, Hungarians have always looked with great interest at the East, in which they saw their former homeland, Magna Hungaria. Perhaps this is the reason why the instinctive interest of Hungarian travellers, scientists, merchants and artists was sincere. At the same time, it is surprising that, despite the fact that the Hungarian nation was never one of the European colonizers, many Hungarians, or persons belonging to a minority living in the territory of Hungary, showed interest in the East and came to India over the centuries. These individuals, returning home and writing down the experiences they gained during their stay in India, have contributed significantly to giving Europeans an insight into the exotic world of Indian religions, literature, languages, arts. Without wishing to be exhaustive, the study highlights the development of Hungarian–Indian cultural relations and presents those Hungarians who played an important role in the continuous development of these cultural ties.
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Tanzer, Frances. "European Fantasies: Modernism and Jewish Absence at the Venice Biennale of Art, 1948–1956." Contemporary European History 31, no. 2 (December 14, 2021): 243–58. http://dx.doi.org/10.1017/s0960777321000138.
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This article examines how states with a fascist past – Germany, Austria and Italy – used modernism in the visual arts to rebrand national and European culture at the Venice Biennale of Art after 1945. I argue that post-war exhibitions of modern art, including those at the Biennale, reveal a vast confrontation with Jewish absence after the Holocaust. Christian Democrats and proponents of European integration attempted to reimagine modernism without the Jewish minority that had shaped it in crucial ways. Meanwhile, living Jewish artists resisted their exclusion from the post-war interpretations of modernism, as well as absorbtion of modernism as part of national heritage. Their criticisms lay bare a seeming paradox at the heart of post-war Europe: a desire to claim the veneer of pre-Nazi cosmopolitanism without returning its enabling demographic and cultural diversity. This article points to the significance of philosemitism for establishing post-war national and continental identities.
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Sauerteig, Lutz D. H. "Loss of Innocence: Albert Moll, Sigmund Freud and the Invention of Childhood Sexuality Around 1900." Medical History 56, no. 2 (April 2012): 156–83. http://dx.doi.org/10.1017/mdh.2011.31.
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AbstractThis paper analyses how, prior to the work of Sigmund Freud, an understanding of infant and childhood sexuality emerged during the nineteenth century. Key contributors to the debate were Albert Moll, Max Dessoir and others, as fin-de-siècle artists and writers celebrated a sexualised image of the child. By the beginning of the twentieth century, most paediatricians, sexologists, psychologists, psychiatrists, psychoanalysts and pedagogues agreed that sexuality formed part of a child’s ‘normal’ development. This paper argues that the main disagreements in discourses about childhood sexuality related to different interpretations of children’s sexual experiences. On the one hand stood an explanation that argued for a homology between children’s and adults’ sexual experiences, on the other hand was an understanding that suggested that adults and children had distinct and different experiences. Whereas the homological interpretation was favoured by the majority of commentators, including Moll, Freud, and to some extent also by C.G. Jung, the heterological interpretation was supported by a minority, including childhood psychologist Charlotte Bühler.
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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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Eurika Jansen van Vuuren. "Acculturation: An Investigation into Afri-Afrikaans or is it Afri-African?" PAN African Journal of Musical Arts Education 1, no. 1 (December 30, 2014): 1–11. http://dx.doi.org/10.58721/pajmae.v1i1.131.
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Acculturation is taking place in a subtle way in South African schools where the music of the Afrikaans people is taken by Africans and given an African flavour. This phenomenon can be seen in the work of artists like Bongani Nxumalo with his rendition of the Afrikaans song, Loslappie. The counter is also audible where modern Afrikaans music shows influences of African rhythms. This article addresses the issue of how South African teenagers are influenced by teenagers from other cultures in music and song, using a pragmatic paradigm. The researcher argues that acculturation is a spontaneous process where one is not consciously aware of the influences when living in a multi-cultural environment. More dominant cultures will have a more visible effect on minority cultures. In conclusion, this project by closely examining a sample of South African teenagers from different cultures during music-making sheds new light on the way acculturation takes place amongst teenagers in rural South Africa.
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Al Habash, Mariam, Ragheb Halaweh, Tayma Al Ali, and Donia Alaa. "GIVING CREDIT WHERE IT’S DUE: CONTENT ANALYSIS OF SOCIAL MEDIA ACTIVISM PATTERNS OF #BLACKTIKTOKSTRIKE ON TIKTOK." Kampala International University Interdisciplinary Journal of Humanities and Social Sciences 2, no. 3 (December 31, 2021): 30–42. http://dx.doi.org/10.59568/kijhus-2021-2-3-03.
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While the overwhelming flow of content on social media platforms allows for an ease of access to information and entertainment, it also blurs the lines for the original content creators to receive the proper credit to their intellectual property. With TikTok’s success among other social platforms, many TikTok dances were reused and their owners did not receive credit for the choreography, specifically when created by minority groups. As a result, the black TikTok community has gone on a content strike on the app and refused to create any new dances. The strike is a form of social media activism and as such, all users participating are creating awareness content under the hashtag #BlackTikTokStrike. The aim of this study is to analyze the patterns of social media activism in the videos shared under the mentioned hashtag. The study uses a purposive sampling method to selectively pick the sample. All videos were analyzed in reference to (a) storytelling analysis, (b) audio and music, (c) technical elements, and (d) protest paradigm. The findings illustrate patterns in all aforementioned themes of social media activism in the TikTok strike movement. Users of the hashtag often resorted to a humorous tone of storytelling. The videos also shared a song for the same artist across many videos. Additionally, participants of the social media movement shared mostly raw and uncut videos although more than half of said videos include graphics like images, infographics, and text. Lastly, users took to the platform to call out artists, redirect credit to original creators, and call for immediate action.
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Sussman, Sally, and Tony Day. "Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance." Theatre Research International 22, no. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.
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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion in Melbourne, Gartner fears that ‘there are people in this community […] thinking that […] it is the demise of all they believe in their British heritage’. The focus of the article, though, is not the promotion of Asian culture but how to overcome Asian indifference to Australia and the problem of bringing Australian artists to the notice of Asian impresarios and audiences. Australian cultural cringe wins out over Australian Asia-literate political correctness. In another corner of the continent the director and playwright Peter Copeman has been attempting to replace ‘the Euro-American hand-me-downs and imitations’ of mainstream Australian theatre with a theatre project which explores ‘attitudes of the dominant Anglo-Celtic and the Vietnamese minority cultures towards each other, using the intercultural dialectic as the basis of dramatic conflict’.
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SIEG, KATRIN. "Identity Issues in German Feminist Movements and Theatre." Theatre Research International 37, no. 1 (January 26, 2012): 74–76. http://dx.doi.org/10.1017/s0307883311000800.
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Identity politics, understood as the analysis of the ways in which social roles are inscribed on the body, affects and behaviour, and in which collective experiences of oppression also produce resistant practices, informed German feminisms and performances during the 1980s and early 1990s. Since then, major feminist playwrights have shifted into literary production, or abandoned gender as their central critical concern in view of other urgent issues that arose after reunification, including historical revisionism, economic restructuring, rising racism and xenophobia, and globalization fears. Younger white artists playfully unbundled gender and sex and supported the postfeminist consensus that feminist identity politics had become obsolete. The work of Bridge Markland, which can be found on YouTube, emblematizes a burgeoning transgender and drag culture that was transnationalized through film, video, photography exhibitions and workshops. In this critical vacuum, immigrant and minority women were saddled with intensifying, ever more essentialist discourses of gender and ethnic difference, and continued to grapple with them through deconstructive and historicizing, as well as essentializing, deployments of identity.
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Johnston, Caleb, and Geraldine Pratt. "Tlingipino Bingo, settler colonialism and other futures." Environment and Planning D: Society and Space 35, no. 6 (November 10, 2017): 971–93. http://dx.doi.org/10.1177/0263775817730699.
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We present an analysis of Tlingipino Bingo, which is the latest iteration of our on-going experiment to work with performance as a means of translating and transforming scholarly work to generate more informed and nuanced public debate about migrant labour. Tlingipino Bingo was a collaboration between white settler academics and Filipino and Tlingit artists in Whitehorse Canada, created in a context of rapid Filipino migration and racialised tensions between Filipino migrants and First Nations peoples in Whitehorse. It brought the communities together to participate in an interactive bingo game and to exchange stories of disparate but resonate experiences of colonialism. We document the public event of Tlingipino Bingo to interrogate how deeply settler colonialism burrows into everyday life, including practices of racialised immigrants, the ways that a model minority discourse functions within state multiculturalism, and to imagine other futures beyond settler colonialism, which could possibly include white settlers as allies. We venture that the performance might also help to think strategically about critical responses to contemporary claims of dispossession by white citizens in Canada and elsewhere, as well as their destructive nostalgia for a lost national time of whiteness.
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Kornberg, Jacques. "Vienna, the 1890s: Jews in the Eyes of Their Defenders. (The Verein zur Abwehr des Antisemitismus)." Central European History 28, no. 2 (June 1995): 153–73. http://dx.doi.org/10.1017/s0008938900011638.
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Advocatesfor minority rights make stringent demands upon those they defend. The relationship between the persecuted and their defenders is often a minefield of conflicting agendas, made even worse by patronizing attitudes on the one side and wounded pride on the other. One example is the Verein zur Abwehr des Antisemitismus (The Association for Defense Against Antisemitism), founded in Vienna in 1891 to combat the alarming rise of political antisemitism, unmistakable in the stunning electoral successes of the Christian Social Party led by Karl Lueger. Abwehrverein members came from Austria's elite of education and property (Bildung und Besitz): Liberal politicians, large-scale industrialists and merchants, members of the free professions, and artists. Most members were Austro-German liberals, and Liberal Reichsrat deputies sat on its board. Its founder and president was Baron Arthur Gunduccar von Suttner (1850–1902), a writer, and husband of Bertha von Suttner, recipient of the Noble Peace Prize in 1905. My intention is to explore the attitude of the Abwehrverein to Jewry, and to raise the question of whether it served Jewish interests well. But before that, a word or two must be said about the association.
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Podolyaka, Nadiia, and Oleksandra Shvachko. "Modern samvydav (self-publishing), zine-edition as a way of self-expression and communication." Integrated communications, no. 3 (2022): 22–27. http://dx.doi.org/10.28925/2524-2644.2020.1.3.
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The purpose of the article is to explore the possibilities of modern samvydav in Ukraine for further scientific research on the example of zine-publications. Empirical-theoretical methods of analysis, synthesis, and deduction are used. The survey method, as well as theoretical methods (description and interpretation), are also applied. Using these methods allowed us to research social information about the functioning of this type of communication; to prove that currently, the samvydav industry is spreading among professional writers, not just amateurs. It is proved that the modern culture of samvydav in Ukraine is a little-studied phenomenon. The experience of manufacturing and popularizing modern forms of samvydav is quite new. Ukrainian self-publishing is mainly reflected in social networks; we practically do not find scientific professional justifications for the development of self-publishing books in the 21st century. It turned out that a third of the respondents associate the phenomenon of samvydav only with the country’s historical past, the struggle of Ukraine for self-identification during the existence of the USSR. A minority of respondents own information about contests and specialized sites that provide creative opportunities for the creators of samvydav. Modern samvydav has successfully integrated into the new culture and today is part of art and literature. The attention is focused on the latest forms of samvydav, in particular on the zine-editions. Popularization platforms and specialized sites have been characterised, thanks to which contemporary artists have the opportunity to present their informal creativity. The study can become the basis for formulating practical recommendations on establishing informational interaction in the triad “publisher/artist — new forms of samvydav — audience”; to form an information base for the cognition of the functioning of new forms of media product; help to develop mechanisms for organizing and forming an audience
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Francis, Gladys M. "Performing while Black: Disrupting Gender and Sexuality from Trinidad to Norway—The Artivism of Thomas Prestø." Diaspora: A Journal of Transnational Studies 21, no. 2 (September 1, 2021): 279–96. http://dx.doi.org/10.3138/diaspora.21.2.2021.05.14.2.
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In this interview, artistic director and choreographer Thomas Prestø speaks with cultural studies scholar Dr. Gladys M. Francis about his personal journey as a hyper visible Black boy growing up in a Norwegian region known as a hub for neo-Nazi groups. Subjected to various forms of torture, Prestø discusses how his experiences shaped his politics of arts when he founded the Tabanka Dance Company to promote “a sustainable Black identity” that converges both Caribbean and African movement esthetics to tell the stories of Blacks in Norway. Prestø presents how his body of work informs Black diaspora studies in terms of art and culture through issues of minority identities, body-memory, body-politics, and political and cultural agency relating to Black performances and cultures in Norway. He discusses principles on “Caribfuturism” and corporealities within what he calls “the uniqueness of the Afropean, the Afro-Scandinavian and the poly-Diasporan.” His insights on the prejudiced mechanisms of representation and segmentation of cultures visible in Norway also convey how his artistic productions offer challenging esthetics and representations of gender and sexuality for performing Brown and Black artists. The following segments were gathered during his 2018 dance fellowship in Dakar, Senegal, my scholar appointment in Norway in 2019, and follow up discussions in spring 2021.
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Enriquez, Sophia M. "“Penned Against the Wall”." Journal of Popular Music Studies 32, no. 2 (June 1, 2020): 63–76. http://dx.doi.org/10.1525/jpms.2020.32.2.63.
Повний текст джерелаАнотація:
Although the Appalachian region has long been associated with white racial identity, Latinx people remain the region's largest and fastest-growing minority. What perspectives and experiences are revealed when such narratives of whiteness are challenged by the visibility of Latinx migrants? What does music tell us about ongoing discourses of migration and border-crossings? This essay analyzes Latinx immigration narratives in Appalachian music and offers the possibility of a Latinx-Appalachian musical and cultural resonances. I take up the music of artists who claim hybrid Latinx-Appalachian cultural and musical identities. Namely, this essay focuses on Che Apalache—a four-piece band based in Buenos Aires that plays “Latingrass”—and the Lua Project—a five-piece band based in Charlottesville, Virginia, that plays “Mexilachian” music. Using field recordings and ethnographic interviews with both groups, this essay analyzes references to U.S.-Mexico border politics, acts of border crossing, and Latin American-Appalachian geographic similarities. I engage U.S.-based Latinx studies and Appalachian studies to establish relationships of Appalachian and Latinx cultures and incorporate analyses of both Spanish and English lyrics. Ultimately, this essay suggests that listening for Latinx migration narratives in Appalachian music challenges assumptions of belonging in the shifting U.S. cultural landscape.